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Art + Design

Tuesday, March 24, 2026 SINCE 1969

AUCTIONEERS & APPRAISERS w w w. j o h n m o r a n . c o m

Art + Design

March 24, 2026 | 10am PST Sale 334 145 East Walnut Avenue, Monrovia CA 91016

This is an interactive catalogue. Click on any item description or hyperlink for more information.

Previews:

Friday, March 20th: 12-4pm Saturday, March 21st: 12-4pm Monday, March 23rd: 12-4pm Tuesday, March 24th: Doors open 9am

Meet the Team Matthew Grayson Co-Head of Sale Specialist, Post-War & Contemporary Design m.grayson@johnmoran.com

Katherine Halligan Co-Head of Sale Director, Fine Art k.halligan@johnmoran.com

Anne Spink Senior Cataloguer, Fine Art a.spink@johnmoran.com

Grant Stevens Cataloguer, Furniture & Decorative Art g.stevens@johnmoran.com

Client Services Mario Esquivel Office Manager m.esquivel@johnmoran.com

Ella Fountain Client Services e.fountain@johnmoran.com

SINCE 1969

AUCTIONEERS & APPRAISERS

A r t + D e s i g n l Tu e s d a y, Marc h 2 4 , 2 0 2 6

Corita (Sister Mary) Kent

(1918-1986) “Hope is the Remembrance of the Future,” 1978 Screenprint in colors on paper From the edition of 200 Signed and inscribed in pencil along the lower edge of the image: Corita Sight: 11.5” H x 11.5” W $600-800

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Patrick Hughes

(b. 1939) “The Domestic Life of the Rainbow” portfolio, 1978 Seven screenprints in colors on wove paper and the separate book by the artist Edition: 48/120 (there were also 12 artist’s proofs) Each of the screenprints signed, dated, and numbered in pencil in the lower margin: Hughes 79; each also with a pencil inventory / work number, verso; together with the printed title and colophon pages printed on black paper; and the separate brown cloth-covered hardback book, co-created by the artist and Paul Hammond, “Upon the Pun: Dual Meaning in Words and Pictures;” all but the hardback book loose; housed together in the original white paper-covered portfolio-box with the printed title; Coriander Studio, London, England, prntr. and pub. Sheet of each screenprint: 9” H x 5.5” W (or reverse); Book: 8.75” H x 5.5” W x 0.5” D $800-1,200 Notes: The book’s colophon page states that each of these portfolios includes six screenprints in colors, however, this example happens to have seven. This page also indicates that the screenprints are printed on B.F.K. Reeves [sic; likely intended to read as B.F.K. Rives], although no watermarks are visible. The inventory / work numbers on the verso of each of the screenprints are inscribed sequentially in pencil: TM: 81.2.I-C to I-G, and the inside cover of the hardback book is inscribed in pencil: TM: 81.2.I-H.

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Claes Oldenburg

(1929-2022) “Soft Saxophone (Blue, Yellow, Red),” 1992 Lithograph in colors on Somerset Satin paper Edition: 1/40 Signed with initials and numbered in pencil along the lower edge: CO. Derrière l’Étoile Studios, New York, NY, prntr.; Brooke Alexander Editions, New York, NY, pub. Image/Sheet: 35” H x 43.75” W $1,500-2,500 Literature: Axsom / Platzker 238

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Claes Oldenburg

(1929-2022) “Study for Standing Mitt,” 1976 Offset lithograph in colors on paper Edition: H.C. 3/12 (an hors commerce impression aside from the edition of 50) Signed, numbered, and inscribed in pencil along the lower margin edge: Oldenburg / H.C. / Metzenbaum; titled on a label affixed to the frame’s backing board; Precision Colorplate Company, Chicago, IL, prntr.; Multiples, Inc., New York, NY, pub. Image: 27.75” H x 21.5” W (approx.); Sheet: 38” H x 24.25” W $800-1,200 Provenance: George Krevsky Gallery, San Francisco, CA Literature: Axsom / Platzker 138 Notes: This work was published in 1976 as part of a fundraising initiative supporting the Metzenbaum campaign for the United States Senate. w w w. j o h n m o r a n . c o m

Claes Oldenburg

(1929-2022) “Wedding Souvenir,” 1966 Molded plaster This work is from the edition of approximately 200 commissioned for the wedding of James Elliot, Senior Curator of Modern Art at the Los Angeles County Museum of Art, and Judith Elliot in Topanga Canyon, CA Stamped to the underside: Wedding Souvenir / Claes Oldenburg / Los Angeles 1966 6” H x 6.875” W x 2.5” D $1,500-2,500 Provenance: The Estate of Kenneth Donahue, the 2nd director of the Los Angeles County Museum of Art, LACMA By descent in the family, Glendale, CA Literature: Axsom / Platzker 5 Notes: This piece was commissioned for the wedding of James Elliott and Judith Algar, on April 23, 1966, in Topanga Canyon, California. Elliott was then curator of contemporary art at the Los Angeles County Museum of Art. 10

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George Herms

(b. 1935) “Altar,” 1953 Mixed media and found wood Signed and dated verso: GHerms / 53; titled and with an alternative date “1950,” recto 15.5” H x 18” W x 4.625” D $1,000-1,500 Provenance: Triton Museum of Art, Santa Clara, CA

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Beatrice Wood (1893-1998)

She lived to just nine days shy of her 105th birth pottery) was born to wealthy socialites who disa painting in Paris, in the Académie Julian. She al to the U.S. and began acting with a French Rep Duchamp and her first great love, Henry-Pierre an early expression of the Dada art movement years of the 20th century in New York through f and artists that included Man Ray and Francis P

Her autobiography of 1985, “I Shock Myself,” t came to making pottery for which she is best kn turned what was a first a hobby into a career th elementary forms–cups, platters, chalices etc. th

In 1947, she settled in Ojai, CA, where she built member of the Theosophical Society–Adyar. He Her former home is an art gallery named “The humorously remarked, “I owe it all to chocolate a man for whom she was not passionately attra bearing her signature logo “Beato.” While she creativity became manifest.

hday, a free spirit in all her many artistic pursuits, but Beato (as she signed her approved of her desire to become an artist. However, they did allow her to study lso studied acting at the Comédie-Française. With the outbreak of WWI she returned pretory Company in New York City. During this time she became involved with Marcel Roché. With both men she helped create a magazine, “The Blind Man,” that was in New York City. She became involved with the avant-garde movement of the early friendship with Walter and Louise Arensberg, who sponsored gatherings of writers Picabia. Through these associations she later became known as the “Mama of Dada.”

tells the story of transitions in her life and her return to Los Angeles, CA., and how she nown today. Having enrolled in a ceramic class at a Hollywood High School she hat she developed with a passion. She made unique luster glazes on basic pottery of hat proved artistically successful.

lt a home to be near to the Indian philosopher Jiddu Krishnamurti–and become a ere she taught at the Besant Hill School where her home is located on its campus. Beatrice Wood Center for the Arts.” Asked about the secret of her longevity, she e and young men.” Even late in her life it became clear that she probably never met acted. This Museum owns a spectacular and luminous luster-gold ceramic chalice made drawings and paintings, it was in the field of ceramic arts that her greatest

Beatrice Wood (1893-1998)

A metallic glazed earthenware weed pot, mid-20th century Signed to underside: BEATO; incised: 3 4.625” H x 4.5” Dia. $1,200-1,800

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Beatrice Wood (1893-1998)

A glazed earthenware bowl, mid-20th century Signed to underside: BEATO 5” H x 12.75” Dia., irregular $1,500-2,000 Provenance: Private collection, Ojai, CA, acquired circa 1950s and 1960s, possibly directly from Wood’s Studio By family descent

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Beatrice Wood (1893-1998)

A lustre glazed earthenware footed vase, mid-20th century Signed to underside: BEATO 7.125” H x 6.625” W x 7” D, irregular $1,200-1,500 Provenance: Private collection, Ojai, CA, acquired circa 1950s and 1960s, possibly directly from Wood’s Studio By family descent

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Beatrice Wood (1893-1998)

A volcanic glazed earthenware vase, mid-20th century Signed to underside: BEATO 8.5” H x 4.875” Dia. $800-1,200 Provenance: Private collection, Ojai, CA, acquired circa 1950s and 1960s, possibly directly from Wood’s Studio By family descent

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Beatrice Wood (1893-1998)

A volcanic glazed earthenware vase, mid-20th century Signed to underside: BEATO 14” H x 3.875” Dia. $1,200-1,500 Provenance: Private collection, Ojai, CA, acquired circa 1950s and 1960s, possibly directly from Wood’s Studio By family descent

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Sam Gilliam Jr

(1933-2022) “New Moon,” from the “Echo Press Tenth Anniversary Portfolio,” 1991 Screenprint in colors with hand additions and collage on Arches paper From the edition of unknown but presumably small size Signed, titled, dated, and inscribed “VII,” all in pencil along the lower sheet edge: Sam Gilliam 91; Echo Press, Bloomington, IN, pub., with what is presumably their oval blindstamp in the lower left sheet corner and with their work number, SG91-780, inscribed in pencil, verso Image/Sheet: 30” H x 22.25” W $1,500-2,500 Provenance: Triton Museum of Art, Santa Clara, CA

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Bruce Nauman

(b. 1941) “Caned Dance,” from “Merce Cunningham Portfolio,” 1974 Lithograph in colors on paper Edition: 61/100 (there were also 30 artist’s proofs) Signed, numbered, and dated, all in pencil along the lower sheet edge: B Nauman 74; Cirrus Editions, Los Angeles, CA, prntr., with their blindstamp; Multiples, Inc., New York, NY and Castelli Graphics, New York, NY, co-pub. Image/Sheet: 21.5” H x 30” W $1,000-1,500 Provenance: Selections from The Elliot Roberts Estate

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Mel Bochner

(b. 1940) “QED,” 1974 The complete set of four etching and aquatints in colors with chine colle on wove paper Edition: 8/25 (there were also 10 artist’s proofs) Each signed, titled, dated, and numbered in pencil in the lower margin: Mel Bochner 1974; Kathan Brown at Crown Point Press, Oakland, CA, prntr.; Parasol Press, Ltd., New York, NY, pub; with their blindstamps in the lower right margin corner; loose as issued; together with the justification page; all housed in the original cream linen-covered portfolio box Plate of each: 14” H x 11” W; Sheet of each: 27” H x 38” W $1,500-2,500 Notes: The titles of the four prints are: “Principle of Detachment,” “Five and Fifth,” “Meditation on Theorem of Pythagoras” and “Ten.” These works are listed as numbers 1974.02a-1974.02d in the Mel Bochner catalogue raisonné of editioned prints, published by Krakow Witkin Gallery.

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David Worthington

(b. 1962) “Wax Board V,” 2000 Wax on board Incised with initials and date lower right: DW 2000; signed and dated in ink, verso: David Worthington / 31/5/2000; titled on a gallery label affixed verso 24” H x 17” W $500-700 Provenance: The Lefevre Gallery, London, England The Estate of Herbert and Ann Lucas

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Richard Estes

(b. 1932) “Urban Landscapes No. 3,” portfolio, 1981 The complete set of eight screenprints in colors on Fabriano paper Edition: 122/250 (there were also 15 artist’s proofs) Each signed and numbered in pencil in the lower margin: Richard Estes; together with the justification page; Michael Domberger, prntr., with his blindstamp in the lower left margin corner of each screenprint; Parasol Press, Ltd., New York, pub.; each of the screenprints within original individual paper folders; all housed within the original green cloth-covered portfolio-box Image of each: 14.125” H x 20.125” W; Sheet of each: 19.75” H x 27.625” W $7,000-10,000 Literature: John Arthur, pp. 121-123 Notes: The boxed portfolio comprising the following prints: “Cafeteria, Vatican,” “Eiffel Tower Restaurant,” “Bus Interior,” “Movies,” “Subway,” “Lakewood Mall,” “Manhattan,” and “Flughafen (Airport).”

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Jean Tinguely

(1925-1991) “Fontaine Jo Syffert,” from “Eight by Eight to Celebrate the Temporary Contemporary,” 1984 Screenprint in colors on paper Edition: 146/300 Signed and numbered in white crayon along the lower edge: J. Tinguely; with the printed title in the image; The Museum of Contemporary Art, Los Angeles, CA, pub. Image/Sheet: 41” H x 28.75” W $500-700 Provenance: Private collection, Los Angeles, CA

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Victor Vasarely

(1906-1997) “Kedd (Hexagone),” 1984-1985 Screenprint in colors on wove paper Edition: 95/250 Signed and numbered in pencil in the lower margin: Vasarely Image: 25.625” H x 19.75” W; Sight: 26.625” H x 20.25” W $800-1,200

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Andy Warhol

(1928-1987) “Liz,” 1964 Offset lithograph in colors on slightly textured, machine-made paper From the edition of approximately 300 Signed and dated in blue ballpoint ink in the lower margin, at right: Andy Warhol 1965; Total Color, New York, NY, prntr.; Leo Castelli Gallery, New York, NY, pub. Image: 22” H x 22” W; Sheet: 23” H x 23” W $10,000-15,000 Literature: Feldman & Schellmann II.7 Notes: Andy Warhol’s offset lithograph “Liz” exemplifies the artist’s fascination with celebrity, mechanical reproduction, and the construction of public image. Based on a publicity photograph of Elizabeth Taylor, the print isolates her glamorous face, flattening and cropping the image to emphasize her iconic features: violet-blue eyes, arched brows, and vividly colored lips. By using offset lithography, a commercial printing process associated with mass media, Warhol reinforced his interest in repetition and reproducibility, blurring the line between fine art and popular culture. The simplified blocks of saturated color and stark contrasts transform Taylor from an individual person into a commodified symbol of fame, desire, and tragedy, reflecting Warhol’s broader commentary on how Hollywood and the media manufacture and circulate identity in modern society.

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Bernard Buffet

(1928-1999) “Herbier de Bernard Buffet” portfolio, 1966 The complete set of sixteen lithographs in colors on BFK Rives paper Edition: 171/230 Signed in pencil and numbered on the justification: Louise de Vilmorin and Bernard Buffet; Mourlot, Paris, France, prntr.; A.C. Mazo, Paris, France, pub.; loose as issued; including one double-page frontispiece and fifteen one-page lithographs; with the signed justification page, title page, and table of contents page; housed together in the original green paper sleeve and green portfolio box Sheet of each (folded): 17.5” H x 12.75” W $3,000-5,000 Notes: This portfolio contains sixteen color lithographs by Buffet, and sixteen poems by de Vilmorin.

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Salvador Dalí (1904-1989)

Salvador Dalí, the renowned Spanish Surrealist, far beyond painting into the realm of printmaki and disseminate his surrealist visions to a broad and wood engravings. His prints often mirrored mythology, and psychoanalysis. Dalí’s print wor bold, bizarre imagery that defined his unique vi

Salvador Dali’s “Aliyah” suite of 25 color lithogr independence in 1968. Israeli Prime Minister D artist Salvador Dali has succeeded through the which in a short time fashioned a renewed peo

Executed in Dalí’s iconic Surrealist style, the ima ultimate celebration of the Jewish people upon unveiled at the Gallery of Modern Art (Huntingt limited lithographic editions.

, is celebrated for his eccentric imagination and striking visual language that extended ing. Throughout his prolific career, Dalí embraced printmaking as a way to explore der audience, producing hundreds of technically sophisticated etchings, lithographs, d the dreamlike, symbolic world found in his paintings, drawing on themes of religion, rk remains a significant part of his artistic legacy, blending fine craftsmanship with the vision.

raphs was commissioned in honor of the twentieth anniversary of the State of Israel’s David Ben-Gurion wrote in his letter of introduction to the portfolio, “The distinguished power of his great artistry in embodying in a number of prints the marvel of aliyah, ople, a renewed country, and a renewed as well as renewing State.”

ages illustrate the ancient story of Jewish exile and the struggle, resettlement and n their return to the land of Israel. Originally executed in gouache, the paintings were gton Hartford Museum) in New York on April 1, 1968, before being converted into

Salvador Dalí

(1904-1989) “The Land Comes to Life,” from the “Aliyah” portfolio, 1968 Lithograph in colors on wove paper Edition: 29/250 (aside from the lettered edition A/J-Y/J, the Tirage edition of 275, an unknown number of “épreuve d’artiste” impressions, and “several sets for author, artist, publisher”) Signed and numbered in pencil in the lower margin: Dalí; Shorewood Press, New York, NY, pub. Image: 22.25” H x 15.125” W; Sight: 24” H x 16” W $600-800 Provenance: Private collection, Brentwood, CA By family descent Literature: Field 68-I T Michler Löpsinger 1212

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Salvador Dalí

(1904-1989) “Angels of the Rebirth,” from the “Aliyah” portfolio, 1968 Lithograph in colors on paper Edition: 29/250 (aside from the lettered edition A/J-Y/J, the Tirage edition of 275, an unknown number of “épreuve d’artiste” impressions, and “several sets for author, artist, publisher”) Signed and numbered in pencil in the lower margin: Dalí; Shorewood Press, New York, NY, pub. Image: 20” H x 15.75” W; Sight: 23.75” H x 17.875” W $600-800 Provenance: Private collection, Brentwood, CA By family descent Literature: Field 68-I P Michler Löpsinger 1208

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Marc Chagall

(1887-1985) “Le Concert,” from “Derrière le Miroir,” no. 99-100, 1957 Lithograph in colors on wove paper From the edition of 2500 (there was also a separate, signed and numbered edition of 90) Unsigned, and with the usual central vertical crease and text, verso, all as issued; Fernand Mourlot, Paris, France, prntr.; Editions Maeght, Paris, France, pub. Image: 14” H x 22” W; Sheet 14.875” H x 22.125” W $800-1,200 Literature: see Mourlot 176 see Cramer books 33

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Pablo Picasso

(1881-1973) “Sala Gaspar” exhibition poster, 1968 Lithograph in colors on Arches paper Edition: 521/1000 Unsigned as issued; with the printed signature, title, and date in the stone; numbered in pencil in another hand near the lower left margin corner; Sala Gaspar, Barcelona, Spain, pub., with blindstamp in the lower left margin corner Image: 29.25” H x 21” W (approx.); Sheet: 30” H x 22.375” W $300-500 Provenance: The Estate of Kenneth Donahue, the 2nd director of the Los Angeles County Museum of Art, LACMA By descent in the family, Glendale, CA Literature: Czwiklitzer 324 w w w. j o h n m o r a n . c o m

Leon Kossoff

(1926-2019) “The Testament of Eudamidas,” from “The Poussin Project: A Suite of Prints after Nicolas Poussin,” 1998 Etching in brown on Arches paper Edition: Artist’s Proof 8 (one of 10 artist’s proofs aside from the edition of 20) Signed, dated, and inscribed “A/P 8,” all in pencil in the lower margin: Kossoff 98; inscribed “LK99 166” and “D/C” in pencil, in another hand, verso Plate: 16.5” H x 21” W; Sheet: 22.5” H x 27” W $2,000-3,000 Provenance: LA Louver, Venice, CA The Estate of Herbert and Ann Lucas Literature: Richard Kendall, “Drawn to Painting: Leon Kossoff Drawings and Prints After Nicolas Poussin,” (London, England and Venice, CA: Merrill Publishers in collaboration with L.A. Louver, 2000) published to accompany the 2000-2002 international traveling exhibition, pp. 37, 78, see colorplate 22 (for a different impression). 42

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Leon Kossoff

(1926-2019) “Cephalus and Aurora #2,” from “The Poussin Project: A Suite of Prints after Nicolas Poussin,” 1998 Etching and aquatint on wove paper, watermark Somerset Edition: 13/20 (there were also 10 artist’s proofs) Signed, dated, and numbered in pencil in the lower margin: Kossoff 98; with an unidentified blindstamp in the lower right margin corner: SP Plate: 16.5” H x 21.75” W: Sheet: 22.375” H x 29.75” W $2,000-3,000 Provenance: LA Louver, Venice, California The Estate of Herbert and Ann Lucas Literature: Richard Kendall, “Drawn to Painting: Leon Kossoff Drawings and Prints After Nicolas Poussin,” (London, England and Venice, CA: Merrill Publishers in collaboration with L.A. Louver, 2000) published to accompany the 2000-2002 international traveling exhibition, pp. 43, 96, see colorplate 40 (for a different impression). w w w. j o h n m o r a n . c o m

An Ekornes ‘Stressless’ reclining leather sofa

Late 20th century Marked to furniture tag: Ekornes With wood frame and three individually reclining seats, each upholstered in leather 40.5” H x 93” W x 31” D $500-700

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Charles Jacobs (1930-2007)

A California Studio Craft rocking chair, 1986 Incised signature and date to seat underside: Charles Jacobs / 7-14-86; With label: handcarved heirloom furniture by Charles Jacobs / claremont, california In the style of Sam Maloof (1916-2009), with spindle back, flared armrests, and shaped seat, raised on rockers 46.25” H x 26.5” W x 44” D $1,000-2,000 Notes: This lot is accompanied by three samples of the joinery and a signed letter from the maker explaining the samples.

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Erik Wørtz (1916-1997)

A high back ‘Safari’ chair and ottoman for Niels Eilersen, mid-20th century With applied fiberglass label: N. EILERSEN A/S - GRUNDLAGT 1895 -; and export label: DANISH FURNITUREMAKERS CONTROL The chair with sling seat and seatback, with cushioned headrest, and with conforming ottoman 2 pieces Chair: 38” H x 26” W x 26” D; Ottoman: 16.75” H x 23.75” W x 14.75” D $600-800

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Norman Cherner (1920-1987)

A set of three ‘Swivel Cherner’ stools for Plycraft Inc., mid-20th century One with Plycraft Inc. fabric tag applied to underside The chairs with molded plywood and original vinyl seats raised on molded plywood curved legs joined by an enameled steel box stretcher 3 pieces Each: 42” H x 17.5” W x 21” D $700-900 Provenance: John Toomey Gallery, Chicago, IL

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A Widdicomb travertine coffee table

Mid-20th century Base with metal tag: MADE BY / john widdicomb; wood impressed: 7553 / 8554 Raised on a wood base Overall: 13.5” H x 48.5” Dia. $300-500 Provenance: Private collection, West Los Angeles, CA

Isamu Noguchi (1904-1988)

A ‘Cyclone’ dining table for Knoll, 1970s Designed 1957 With partially legible date to Knoll International paper label applied to underside of top The birch plywood top with white laminate surface over a chrome-plated steel wire column on a black powder-coated finished case iron base Overall: 29” H x 47.75” Dia. $700-900 Provenance: Private collection, West Los Angeles, CA

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A set of six Modern side chairs Mid-20th century Each unmarked Leather and wood 6 pieces Each: 32.25” H x 20” W x 21” D $700-900 Provenance: Private collection, West Los Angeles, CA

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After Auguste Rodin

(1840-1917) “Age of Bronze,” 1979 Patinated bronze Edition: 35/150 Signed in the casting: A. Rodin; with impressed foundry, date, and edition on side of plinth: NR © 1979 35 41” H x 13.275” W x 12.75” D $8,000-12,000 Provenance: Private collection, San Diego, CA Notes: This bronze was made from a mold taken from an original work in the Nelson Rockefeller Collection and cast in a limited edition of 150. This and other Nelson Rockefeller Collection reproductions, made with fidelity to the original works, were executed in the 1970s from a number of art and objects in Rockefeller’s collection. The selected pieces were reproduced in order to “share the enjoyment of living with beautiful things” and were retailed through Neiman Marcus and other art galleries.

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Charles Umlauf

(1911-1994) Seated nude woman Patinated bronze on metal plinth Signed in the casting: C. UMLAUF Overall: 20.75” H x 17.25” W x 11.75” D; Bronze: 20.75” H x 16.25” W x 10.5” D $3,000-5,000

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George Segal

(1924-2000) “Gazing Woman,” from “An American Portrait, 1776-1976,” 1975 Plaster relief cast in acrylic case Edition: Artist’s Proof XV/L (aside from the edition of 175) Signed, dated, and editioned to left side: G Segal / 75 / XV/L Published by Transworld Art, Inc., New York, NY 26.25” H x 19.5” W x 4.5” D; Case: 28.5” H x 21.75” W x 7.25” D $1,500-2,500 Provenance: Private collection, Oakland, CA

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Chris Hawthorne (b. 1953) and Steve Kuntz (b. 20th Century) A “Geisha” sculpture, late 20th century Signed to underside of head: S. Kuntz; incised: CS108982 Glass, metal, and wood on a stylized metal plinth 2 pieces Head: 28.75” H x 15.75” W x 11” D; Plinth: 38” H x 18” W x 17” D $1,000-1,500

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A Brutalist wrought metal standing figure Mid/late 20th century Signed indistinctly to underside of foot 64.5” H x 11.5” W x 13” D $700-900 Provenance: The Estate of Herbert and Ann Lucas

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Eric Aman

(20th/21st Century) Fantastical figure Patinated bronze sculpture on a wood wall bracket Unmarked Figure: 12” H x 6” W x 6” D; Wood: 20.25” H x 5.25” W x 8.875” D $800-1,200

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Eric Rasmussen

(20th Century) Surrealist figure Plaster and metal on a wood base Unmarked Overall: 32.75” H x 13” W x 5.75” D $300-500 Provenance: The Estate of Elaine Wynn

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Philippe Marchand

(20th Century) Surrealist portrait of a woman in a hat Oil on canvas Signed lower right: Marchand 42.75” H x 30.25” W $2,000-3,000 Provenance: Private Estate, California

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Walter Stuempfig

(1914-1970) Figures in a garden Oil on canvas Signed lower left: Stuempfig 10.25” H x 15.25” W $1,500-2,500 Provenance: The Collection of Kaye Ballard, actress, comedian and singer Private collection, Palm Springs, CA

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Maqbool Fida Husain

(1915-2011) “Head with Three Eyes, Cartouche and Hand” Lithographic crayon on beige paper Signed and indistinctly inscribed lower right; titled by repute Sheet: 16” H x 21.25” W $700-1,000 Provenance: The Abrams Family Collection Sold: Stair Auctioneers, Hudson, NY, “Art Without Boundaries: The Abrams Family Collection,” November 20, 2024, Lot 339 Private collection, Irvine, CA, acquired from the above

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Jamini Roy

(1887-1972) Untitled (Prancing deer) Tempera on cardboard Signed in Hindi lower right 10.5” H x 17.5” W $2,000-3,000 Provenance: Property from a Manhattan, NY estate Sold: Clarke Auction Gallery, “Super Spring Estate Auctions,” Larchmont, NY, May 11, 2025, Lot 47 Private collection, Irvine, CA, acquired from the above

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John Virtue

(b. 1947) “Landscape No. 381,” 1997-1999 Ink, gouache, and acrylic on canvas Signed, titled, and dated verso: John Virtue / 1997-1999 10” H x 14” W $400-600 Provenance: LA Louver, Venice, CA The Estate of Herbert and Ann Lucas

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E.E. Cummings (1894-1962)

Although best known as an innovative mode art central to his creative identity. He studied modernist movements such as Cubism and

Cummings produced hundreds of paintings color, playful abstraction, and a strong sense in New York City, and he often insisted that p perception, individuality, and emotional inte

ernist poet, E.E. Cummings was also a dedicated painter who considered visual d art at Harvard University and later in Paris, absorbing influences from Post-Impressionism.

s and drawings, particularly landscapes, nudes, and still lifes, marked by bold e of form. Throughout his life he exhibited his work in galleries, including shows painting was as important to him as poetry, viewing both as ways of exploring ensity through different artistic languages.

E.E. Cummings

(1894-1962) “New Moon,” 1958 Oil on cardboard Appears unsigned; dated verso and on a piece of mat board affixed to the frame’s backing paper: March 18, 1958; titled by repute 8.625” H x 13.125” W $800-1,200 Provenance: Private collection, Beverly Hills, CA

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E.E. Cummings

(1894-1962) “Red Flowers” Oil on canvasboard Unsigned; titled by repute 16” H x 20” W $800-1,200 Provenance: Private collection, Beverly Hills, CA

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E.E. Cummings

(1894-1962) “Vase of Flowers” Oil on canvasboard Appears unsigned; titled by repute Sight: 17.75” H x 13.75” W $800-1,200 Provenance: Private collection, Beverly Hills, CA

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Kelly Wearstler (b. 1967)

A ‘Halcyon’ floor lamp for Visual Comfort, early 21st century With applied metal tag: KW The two-light lamp with brass standard, quartz accent, and brass cylindrical shade, electrified Overall: 59.5” H x 17” Dia. $700-900

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In the manner of Jean-Michel Frank (1895-1941)

A Contemporary mica three panel dressing screen, late 20th/early 21st century Unmarked Each panel: 70.25” H x 16.5” W x 1” D; Stored: 3.125” D $600-800 Provenance: The Estate of Elaine Wynn

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Julian Schwarz

(b. 20th Century) “Two Volutes,” 2007 Carved wood Carved to underside: J 7.25” H x 17.75” W x 9.25” D $500-700 Provenance: The Estate of Elaine Wynn

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A Modernist silvered bronze mirror Mid-20th century Unmarked 25.75” H x 21.25” W x 5.75” D $500-700 Provenance: Galerie Jean-Francois Dubois, Paris, France The Estate of Elaine Wynn, acquired from the above

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In the manner of Jean-Michel Frank (1895-1941)

A straw marquetry box, second quarter 20th century The wood casket with hinged lid opening to reveal a cork-lined interior, with leather-clad underside 1.5” H x 8.25” W x 4.5” D $400-600 Provenance: The Estate of Elaine Wynn

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A pair of Gilbert Poillerat style brass scroll andirons

20th century Brackets marked in relief in the casting: PACKARD MALLOY PORTLAND OREGON In the style of Gilbert Poillerat (1902-1988), each with possibly later enameled metal bracket 2 pieces Each without bracket: 12.5” H x 14.75” W x 4.125” D; Each bracket: 11.5” L $200-400 Provenance: The Estate of Elaine Wynn

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A pair of Marc Bankowsky parcel gilt bronze ‘Feuille de Chou’ candlesticks 2009 Each incised: M Bankowsky / 09 Each in the form of a cabbage leaf, with 24k gilding to one side 2 pieces Each: 7.75” H x 8.125” W x 6.625” D $1,000-2,000 Provenance: The Estate of Elaine Wynn

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Hayno Focken (1905-1968)

A hammered brass pitcher, circa 1930s Impressed to underside: Made in Germany / [cipher] / 1028 Incised with swirling lines and circles 19” H x 9.5” W x 7” D $200-400 Provenance: The Estate of Elaine Wynn

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A Michael Lambert ceramic ‘Dancing’ tea service Mid/late 20th century Each signed on underside: Lambert Comprising: 1 teapot (11” H x 10.25” W x 4.5” D) 1 cream jug (7.25” H x 6.75” W x 3.125” D) 1 open sugar (4.5” H x 6” W x 2.75” D) 3 pieces $300-500 Provenance: The Estate of Elaine Wynn Notes: This set is also known as ‘Strutting.’

A group of seven Michael Aram table items

Late 20th/early 21st century Each impressed or marked in relief: Aram Comprising a pair of ‘Gooseberry’ pierced gilt-metal bowls (4.125” H x 18.625” W x 9.125” D), three ‘Lemonwood’ gold-toned metal bowls (1.25” H x 4.375” Dia.), and a pair of ‘Winter Leaves’ patinated metal dishes (6.125” W x 4.625” D) 7 pieces $200-300 Provenance: The Estate of Elaine Wynn

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A Lundberg Studios iridescent glass vase

1991 Etched with date and: Lundberg Studios / 0806137 13.75” H x 10.625” Dia. $300-500 Provenance: The Estate of Elaine Wynn

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Karl Hagenauer (1898-1956)

A turned wood and mixed metal cup, mid-20th century Impressed in the brass ribbon: [artist’s cipher] / Made in Austria With applied hand-wrought brass and copper foliate elements 14.25” H x 11” W x 6” D $1,000-2,000 Provenance: The Estate of Elaine Wynn

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Carlo Maria Mariani

(b. 1931) Classical head, 1991 Pastel, colored pencil, and charcoal on paper over canvas Signed and dated upper left: Carlo Maria Mariani ‘91 Sight: 40.25” H x 41” W $2,000-3,000 Provenance: The Estate of Elaine Wynn

Mary Fedden

(1915-2012) Pear on a plate, 1987 Gouache on paper Signed and dated lower left: Fedden 1987; signed again, “Julian & / Mary,” and inscribed in ink with an extensive personal message to the recipient on the verso Sight: 4.125” H x 4.25” W $3,000-5,000 Notes: “Julian” in the personal message, verso, refers to Mary Fedden’s husband, artist Julian Trevelyan (1910-1989). This lot is also inscribed on the frame’s verso, presumably by the recipient while gifting it onwards, “MARY FEDDEN / A great friend of Mick & Henrietta’s / And this comes with lots of love / to Virginia for her Poire Collection / and thank you for a lovely stay / Christmas 1987-New Year 1988.” 82

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Dietz Edzard

(1893-1963) “Afternoon on the Veranda” Oil on canvas Signed lower right: D. Edzard; titled by repute 26” H x 32” W $2,000-3,000 Provenance: Galarie Paul Pètridés, Paris, France Private Estate, California

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Philippe Henri Noyer

(1917-1985) “Jeune Fille,” 1951 Oil on Masonite Signed and dated lower left: Ph. Noyer. 51; titled on a typed label affixed to the frame’s verso 28.75” H x 23.75” W $600-800 Provenance: Galerie-Librairie Mirador, Paris, France Mr. & Mrs. Robert Maynard Hutchins Private Estate, California

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Gen Paul

(1895-1975) “Les Courses,” circa 1950 Gouache on wove paper Signed lower right: Gen Paul; titled and dated by repute; with an unfinished sketch of three horses, verso Sheet: 19.75” H x 25.625” W $1,000-1,500 Provenance: Private Estate, California

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Polia Pillin (1909-1992)

Polia Pillin as an American ceramic artist who California studio pottery movement. She was her school years and, in the 1940s, studied a By the 1950s, she had developed the handchargers, bowls, and bottle forms, she used horses, animals, and symbolic scenes. Using transformed traditional vessel forms into pai exhibited and sold in California galleries and closely associated with mid-century Los Ang

ose painted earthenware vessels became an important part of the mid-century s born in Ukraine but grew up in Chicago. She later moved to Los Angeles during at the Los Angeles County Art Institute (now Otis College of Art and Design). -painted earthenware vessels that define her career. Working primarily in vases, the clay surface as a ground for stylized figural imagery: women, musicians, g a palette of turquoise, ochre, rust, soft greens, and earthy neutrals, Pillin interly surfaces that feel intimate, folkloric, and highly personal. Her work was d regional exhibitions during the postwar studio pottery movement and remains geles ceramics.

Polia Pillin (1909-1992)

A glazed ceramic plaque, mid-20th century Signed bottom right: Polia Pillin Depicting two female figures on a swing, mounted to a framed board Ceramic: 16” H x 7.125” W $600-800 Provenance: Property from a Private collection, San Antonio, TX

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Polia Pillin (1909-1992)

A glazed ceramic lidded box, mid-20th century Signed to underside: Pillin Depicting two dancing figures to lid 3.125” H x 6.25” W x 6.25” D $400-600 Provenance: Property from a Private collection, San Antonio, TX

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Polia Pillin (1909-1992)

A square form glazed ceramic vase, mid-20th century Signed to underside: Pillin Each side depicting a blonde woman with blue eyes 9” H x 6.75” W x 2.375” D $400-600 Provenance: Property from a Private collection, San Antonio, TX

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Polia Pillin (1909-1992)

Three square bodied glazed ceramic vases, mid-20th century Each signed to underside: Pillin Each depicting a lady and a tree with a perched bird 3 pieces Tallest: 20.25” H x 3.625” W x 3.625” D; Shortest: 13.25” H x 2.375” W x 2.375” D $600-800 Provenance: Property from a Private collection, San Antonio, TX

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Polia Pillin (1909-1992)

Two glazed ceramic vases, mid-20th century Each signed to underside: Pillin Comprising one vase depicting a lady, a dancer, a deer, and a tree, and a wide-bodied vase depicting two ladies, a rooster, and a bird 2 pieces Deer: 6.125” H x 5.25” Dia.; Wide-bodied: 7” H x 7.375” Dia. $400-600 Provenance: Property from a Private collection, San Antonio, TX

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A large Niki de Saint Phalle style figural sculpture

2007 Signed and dated verso: OG / 07 Possibly by Omar Garcia, in the style of Niki de Saint Phalle (1930-2002), the polychrome metal figure depicted on a unicycle and juggling four rings 69.5” H x 30” W x 16” D $600-800

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Peter Dean

(1934-1993) “Star Gazers,” 1981 Oil with glitter and sequin embellishments on canvas Signed lower right: P. Dean; signed again, “Peter Dean,” titled, and dated, all in white pigment, verso 60.125” H x 50.125” W $700-900 Provenance: Sold: Christie’s East, New York, NY, “Contemporary Paintings, Drawings, and Sculpture,” November 14, 1989, Lot 397 Private Estate, California

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Hans Burkhardt

(1904-1994) Nude, 1973 Pastel and gouache on laid paper Signed, dated, and inscribed in pencil along the lower edge: H. Burkhardt / 1973 / “Happy Birthday Werner / your friend Hans”; with the artist’s blindstamp in the lower right corner Sight: 24.5” H x 18” W $800-1,200 Provenance: Private Estate, California

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Harry Sternberg

(1904-2002) Nude figures with masks Oil on panel Signed lower right: Sternberg 9” H x 12” W $500-700 Provenance: Private collection, San Diego, CA

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Gloria Vanderbilt

(1924-2019) “Lucy,” 1971 Mixed media with crayon and ink on smooth paper Signed and dated lower right: Gloria Vanderbilt 1971; titled on gallery label that accompanies the lot Image/Sheet: 28” H x 22” W $3,000-5,000 Provenance: Hoover Gallery, San Francisco, CA, # 1441 Private Estate, California

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Jan Vanriet

(b. 1948) “All Reasons to be Optimistic,” 1986 Alkyd, charcoal, and collage on canvas Signed and dated in charcoal lower right: Jan Vanriet 1986; titled along the lower edge 93” H x 73” W $5,000-7,000 Provenance: Wegner Gallery, Los Angeles, CA Notes: This lot is accompanied by a photographic copy of a sales invoice dated October 19, 1988, from the gallery mentioned above. 1 0 0 A r t + D e s i g n l Tu e s d a y, Marc h 2 4 , 2 0 2 6

Lawrence Ferlinghetti

(1919-2021) “The Painter” (self-portrait), 1989 Oil on canvas Initialed and dated lower right: LF ‘89; signed, titled, and dated again, all verso: Ferlinghetti / 1989 36.5” H x 40” W $1,000-1,500 Provenance: Triton Museum of Art, Santa Clara, CA

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Richard Stipl

(b. 1968) “Sleep of Reason,” 2002 Pigmented wax Edition: 5/5 One with incised edition and numbered: 14 3 pieces Each: 5.125” H x 4.25” W x 4” D approximately $800-1,200 Provenance: Christopher Cutts Gallery, Toronto, Canada Private collection, acquired from the above, March 14, 2004

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Richard Stipl

(b. 1968) Untitled head Pigmented wax Impressed to underside: STIPL 5.625” H x 3.875” W x 4.5” D $300-500 Provenance: Private collection, Los Angeles, CA

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Tom Burckhardt

(b. 1964) Tool Shelf from “FULL STOP” #86, 2004-2005 Acrylic paint on cardboard and wood Signed and titled verso: Tom Burkhardt; numbered 86 58.5” H x 75” W x 15” D $2,000-3,000 Provenance: Caren Golden Fine Art, New York, NY Private collection, acquired from the above, September 27, 2005 Notes: This lot is accompanied by a hardcover book “FULL STOP,” 2014, published by Columbus College of Art & Design, as well as a tri-fold gallery brochure and gallery card from the “FULL STOP” exhibition, issued by The Aldrich Contemporary Art Museum, as well as a bill of lading from Columbus College of Art & Design, dated December 8, 2014. Artist and curator Tom Burkhardt’s 2004-2005 installation “FULL STOP,” an art experience that included the present element, was a significant departure from his boldly graphic and colorful painting practice. This immersive, large-scale replication of the artist’s studio faithfully recorded the studio contents in detail in collaged and painted cardboard and paper elements. Nothing was overlooked in Burkhardt’s obsessive attention to detail: the object-filled bookshelf, ladder and box of art books represented here, a window with a view of the city, a complete bathroom and a scattering of artistic materials and tools including stretched canvases, stretchers, paints and paintbrushes, hammers, and, meaningfully, a blank canvas on an easel. The fleeting moment in time was further enhanced by foot and shoeprints on the floor, drips of intentionally errant paint, open books and cans of soup, as if the artist just exited of the studio. The title “FULL STOP” suggests both a pause and a decisive mark. By collapsing the boundaries between painting, collage, and sculpture, the work invited viewers to physically move through and experience painting as a spatial, almost theatrical encounter rather than a flat surface confined to the wall. Now disassembled, the present components from “FULL STOP” become their own art experience, both playful and complex. Many elements of the packed bookshelf reference a specific artist, including the record player’s nod to Robert Rauschenberg’s work in the music genre.

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Tom Burckhardt

(b. 1964) Ladder from “FULL STOP” #153, 2004-2005 Painted cardboard Signed: Tom Burkhardt; stamped: FULL STOP; numbered: 153 73.75” H x 22.5” W x 7” D $800-1,200 Provenance: Caren Golden Fine Art, New York, NY Private collection, acquired from the above, September 27, 2005

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Tom Burckhardt

(b. 1964) “Book Crate,” 2006 Acrylic and cardboard Signed, dated, and titled to underside: Tom Burkhardt 13.25” H x 18” W x 13.5” D $600-800 Provenance: Caren Golden Fine Art, New York, NY Private collection, acquired from the above, March 21, 2006

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Jonas Wood (b. 1977)

American contemporary artist Jonas Wood i personal narrative with art historical influence and William Smith Colleges and the Univers outlines, patterned surfaces, and a collage-li portraits of family members, and scenes from Henri Matisse.

Wood has a long-standing collaborative hist respected fine art print studios. His first sign with master printmaker Jean Milant, the foun lithographs and silkscreen prints. Over the ye colorful lithographs and hybrid lithograph/sc and interiors. Layered, richly colored compo graphic approach to composition.

is best known for his vibrant, flattened paintings and prints that blend es. Raised in Boston and later based in Los Angeles, Wood studied at Hobart sity of Washington before developing a distinctive style characterized by bold ike sense of space. His work often depicts domestic interiors, houseplants, m everyday life, drawing inspiration from artists such as David Hockney and

tory with Cirrus Gallery and Cirrus Editions Ltd., one of Los Angeles’s most nificant print editions with Cirrus began around the late 2000s, working closely nder of Cirrus, to translate his bold, graphic imagery into limited-edition years Wood and Cirrus produced a number of notable prints, including creenprint works that often feature his signature motifs like plants, still lifes, ositions like the present suite of four works from 2014 showcase the artist’s

Jonas Wood

(b. 1977) “Untitled,” 2014 The complete set of four lithographs and screenprint in colors on white Coventry Rag paper Edition of each: 21/50 (there were also 20 artist’s proofs) Each: Signed, dated, and numbered in pencil along the lower edge: Jonas 2014; Cirrus Editions, Los Angeles, CA, pub., with their blindstamp in the lower left sheet corner; with the Cirrus Editions copyright ink stamp and pencil work numbers, 688c-JW14, 689c-JW14, 690c-JW14, and 691c-JW14, respectively, all verso Sheet of each: 48” H x 37.125” W $25,000-35,000 Provenance: The Collection of Cirrus Gallery Literature: Gagosian Gallery, “Jonas Wood: Prints,” New York, 2018, pp. 48-55

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Eddie Dominguez

(b. 1957) “Mixed Zinnias” Glazed ceramic cups, plates, and bowls set in a carved wood base Most cups and bowls marked for assembly Comprising 7 leaf-form plates, 8 floriform bowls, 16 cups, and 1 slotted wood base with leather top 32 pieces Arranged: 20.5” H x 37” W x 19” D; Base: 4.25” H x 37” W x 14.5” D $1,200-1,800

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Leonardo Nierman

(1932-2023) Abstract sculpture Polished bronze Edition: 3/3 Incised signature and edition: Nierman / III/III 20” H x 35.75” W x 7.25” D $1,500-2,000 Provenance: Property from the Anni & Arthur Lipper III Collection, Del Mar, CA

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Leonardo Nierman

(1932-2023) “Magic Fire” Oil on Masonite Signed lower left: Nierman; titled verso 48” H x 35.5” W $2,500-3,500 Provenance: Property from the Anni & Arthur Lipper III Collection, Del Mar, CA

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Leonardo Nierman

(1932-2023) “Firebird” Oil on Masonite Signed lower right: Nierman; titled verso 48” H x 35.5” W $2,500-3,500 Provenance: Property from the Anni & Arthur Lipper III Collection, Del Mar, CA

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Takeshi Nakayoshi

(b. 1952) “Out of Window,” 2016 Oil on canvas Signed, dated, and titled verso: Takeshi Nakayoshi / 16; titled and dated again in ink, in another hand, on a label affixed to the frame’s verso 16” H x 20.125” W $600-800 Provenance: Triton Museum of Art, Santa Clara, CA

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Kumi Sugai

(1919-1996) Untitled, 1960 Ink on paper Signed and with the artist’s device in ink lower right: Sugai; signed again, dated, and inscribed, all in pencil, on the back mount: 1960 / “à Jane Kootz / Mitsuko” Sheet: 9.875” H x 6.5” W $500-700 Provenance: From the Estate of Joyce Kootz, wife of Gallerist Sam Kootz Sold: Capsule Auctions, New York, NY, June 25, 2025, Lot 101 Private collection, Irvine, CA, from the above

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Aijiro Wakita (b. 1942) Two works:

“Quartered Square,” from the “Sixteen Spiral Series,” 1973 Lead and tin wire on wood Appears unsigned; and titled and dated on label on the frame’s backing board: Sight: 11” H x 9.5” W (irreg.) “Circle,” from the “Sixteen Spiral Series,” 1973 Lead and tin wire on wood Appears unsigned Sight: 9” H x 9” W (irreg.) 2 pieces $700-1,000 Provenance: Martha Jackson Gallery, New York, NY Anderson Gallery, Buffalo, NY David Anderson Grandchildren’s Trust, Buffalo, NY Sold: Aspire Auctions, Cleveland, OH, “May Online Auction,” May 28, 2015, Lots 153 and 154 Private collection, Irvine, CA, acquired from the above Notes: Quartered Square has a label affixed to the frame’s backing from the Members’ Gallery, Albright Knox Art Gallery, Buffalo, NY

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Aijiro Wakita (b. 1942) Two works:

“Embossed Square,” from the “Sixteen Spiral Series,” 1973 Lead and tin wire on wood Signed on the backing board, and titled and dated on label on the frame’s backing board: Aijiro Wakita 9” H x 9” W (irreg.) “Opposed Semi Circles,” from the “Sixteen Spiral Series,” 1973 Lead and tin wire on wood Signed on the backing board, and titled and dated on label on the frame’s backing board: Aijiro Wakita 9” H x 11” W (irreg.) 2 pieces $700-1,000 Provenance: Martha Jackson Gallery, NY Anderson Gallery, Buffalo, NY David Anderson Grandchildren’s Trust, Buffalo, NY Sold: Aspire Auctions, Cleveland, OH, “May Online Auction,” May 28, 2015, Lots 155 and 156 Private collection, Irvine, CA, from the above Notes: Both: A label affixed to the frame’s backing from the Members’ Gallery, Albright Knox Art Gallery, Buffalo, NY

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Fletcher Benton

(1931-2019) “Q,” 2011 Patinated metal on rotating granite base Unmarked 14.25” H x 14.5” W x 14” D $2,000-3,000

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Norman Foster

(20th Century) “Martyr,” 1989 Patinated bronze on granite base Incised with artist’s cipher and date: © 89 Bronze: 28.25” H x 18.75” W x 10.5” D; Overall: 32.5” H $500-700 Notes: This lot is accompanied by a gallery pamphlet from “Norman Foster: Sculptures and Constructions,” June 13-August 19, 1989.

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Gene Bruno

(20th Century) Free Form Abstract, 1967 Patinated bronze Signed and dated in the casting: Bruno Overall: 27.75” H x 22” W x 8.5” D $800-1,200 Provenance: Sold: Michaan’s Auctions, Alameda, CA, “20th Century Design,” November 6, 2014, Lot 3051 Private collection, Palos Verdes Estates, CA

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Gene Bruno

(20th Century) Free Form Abstract, 1967 Patinated bronze Signed and dated in the casting: Bruno Overall: 28.25” H x 22.25” W x 8.5” D $800-1,200 Provenance: Sold: Michaan’s Auctions, Alameda, CA, “20th Century Design,” November 6, 2014, Lot 3052 Private collection, Palos Verdes Estates, CA

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Ludwig Mies van der R (1886-1969)

In 1930, the man with five names, paragon o on the role of what would be the last directo 2005) commissioned Mies to decorate the in showcase his designs in the US, and thus the

Few were manufactured in its earlier years, a cushion on an African mahogany platform w

In 1948, Knoll acquired the rights to manufa were not acquired until 1953, after the ‘Barce important to note that ‘Couch’ did not make stool counterparts. In fact, it wasn’t until 198 inducted into Knoll’s ‘Barcelona Collection,’

Now complete, Mies’s iconic trinity of furnitu saying “God is in the details,” then this is like

Rohe

of Modern architecture and interior design, also known as ‘Mies,’ had just taken orship of the Bauhaus, when budding American architect Philip Johnson (1906nterior of his New York apartment. Mies accepted, seizing an opportunity to e simply named ‘Couch’ was born.

as the daybed was expensive to build, initially constructed from a tufted cowhide with tubular steel legs, making earlier examples exceedingly rare.

acture Mies’s ‘Barcelona’ chair and stool stateside. However, the rights to ‘Couch’ celona Collection’ had already built a strong presence in the design world. It’s e its debut at the 1929 German Pavilion alongside its ‘Barcelona’ chair and 87 that ‘Couch,’ sometimes also referred to as ‘Pavilion daybed,’ was officially at last shedding the drab moniker.

ure design endures as a luxurious expression of simplicity. If Mies was correct in kely where he naps.

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Ludwig Mies van der Rohe (1886-1969)

A ‘Barcelona’ daybed for Knoll Studio, late 20th/early 21st century Designed 1930 Unmarked With a tufted brown leather upholstered cushion, walnut frame, and chrome-plated stainless-steel legs Bed: 17” H x 78.5” W x 38” D; Pillow: 38.5” L x 8” Dia. $3,000-5,000

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Philip and Kelvin LaVerne (1907-1987 and 1937-2025)

A Modern bronze coffee table, 1966 Etched signature: Phil Kelvin LaVerne With bronze-clad wood top of organic shape, incised with figures of Greek goddesses and gods of music, dance, and literature, raised on four tubular metal legs 17.125” H x 62.75” W x 27” D $4,000-6,000 Provenance: Private collection, Palos Verdes Estates, CA Notes: This lot is accompanied by a copy of a letter from Kelvin LaVerne, representing the Philip La Verne Galleries Ltd., dated October 28, 2014, stating that the table was created in 1966 by his father, Philip, and gifted to their cousins. “The design was created after a visit to Greece while researching for an important commission. We were greatly impressed by the importance the Greeks gave to the arts other than architecture and sculpture. The design represents the goddesses and gods of Music, Dance, Literature, and Poetry.” The father-son team behind Philip and Kelvin LaVerne started working together in 1960 after Kelvin, the younger LaVerne, finished studying art history, metal sculpting, and furniture design. The duo opened a studio in New York City, where they created stunning, functional art pieces (chief among them, coffee tables) in patinated bronze, pewter, and silver. Their designs were made using a unique technique that took around six years to perfect.

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Gae Aulenti (1927-2012)

Architect and designer Gaetana “Gae” Aule Paris and Buenos Aires. The lamp’s biomorp to the four bulbs under its wings, showcasing collaborating with Sergio Camilli of furniture Camilli then introduced her to Elio Martinelli company still manufactures it to this day.

During her career, Aulenti contributed greatl at the Polytechnic University of Milan. She in design of its buildings rather than simply rep of the past. She is, however, perhaps best kn the Musée d’Orsay.

enti first designed the ‘Pipistrello’ lamp to illuminate Olivetti’s typewriter stores in phic methacrylate diffuser was inspired by the form of a bat and brings warmth g the telescoping brushed steel and aluminum base. At the time, Aulenti was e company Poltronova, but they were unable to put the lamp into production. i of Martinelli Luce, who in 1967 brought the ‘Pipistrello’ lamp to market and the

ly to the post-war reconstruction of Italy, particularly in Milan, where she studied nterpreted the tenets of “neo-liberty” to honor the history of the city and the placing them with simplified Modern forms that clashed with the ornamentation nown for her work transforming the Beaux Arts Gare d’Orsay railway station into

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Gae Aulenti (1927-2012)

A pair of ‘Pipistrello’ table lamps for Martinelli Luce, circa 1960s Designed 1965 Each marked to underside: Modello 620 / Pipistrello / [logo] / Martinelli Luce / Design Gae Aulenti / Made in Italy; each with sticker: MOD / 620 / Made in Italy The four-light lamps each with methacrylate diffuser issued from a tiered telescoping brushed steel standard above a painted aluminum base, electrified 2 pieces Each shortest: 29” H x 21.5” Dia.; Tallest: 35.75” H $2,000-4,000

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Serge Mouille (1922-1988)

A three light floor lamp, 2011 Dated to shade interiors and numbered: ESM / 695 The enameled steel standard issuing three rotating arms terminating in an articulated enameled aluminum ‘chapeau’ shade, raised on a tripod base with tapered legs, electrified 84.5” H x 55” Dia., dimensions variable $1,500-2,000 Provenance: Private collection, Irvine, CA

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100

Gerrit Thomas Rietveld (1888-1964)

A ‘Red & Blue’ chair for Cassina, circa 1980s Designed 1918, colorized 1923 With factory mark: Cassina / MEUBEL / MAKERIJ / RIETVELD / ADR.VAN / OSTADE / LANN25; impressed: 3459 The modernist De Stijl chair constructed of rectilinear wood components painted in black, red, yellow, and blue 35” H x 32.25” W x 26.5” D $800-1,200

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101

Ludwig Mies van der Rohe (1886-1969)

Two ‘Brno Flat Bar’ chairs for Knoll, circa 1980s Designed 1930 Each unmarked Each cantilevered chair with maroon leather upholstered back, seat, and arm pads on a polished chromed metal frame 2 pieces Each: 31.5” H x 23.25” W x 23.25” D $400-600

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102

A Mummenthaler and Meier rosewood ‘Magic Box Desk’

Mid-20th century Appears unmarked With two hinged sides opening to reveal an articulated desk lamp above a pull-out writing surface with hinged extensions, a drawer, and a pull-out surface, with multiple shelves throughout and a metal file rack, electrified Open: 45.25” H x 64.5” W x 29” D; Stored: 32.5” W x 21.25” D $800-1,200 This lot may require a CITES permit if being shipped outside California. Please contact your preferred shipping company for information.

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103

Svend Age Willumsen & Hans Engholm (20th Century)

A teak tray table for Fritz Hansen, circa 1950s Tray and stand each with factory stamp to underside: FH [in a circle] / MADE IN DENMARK The tray raised on an ebonized wood stand with attenuated legs conjoined in an X-form Overall: 16.5” H x 25.25” W x 16.375” D $800-1,200 Provenance: Private collection, Irvine, CA

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104

Hans Wegner (1914-2007)

A CH25 Easy Chair for Carl Hansen & Son, late 20th/early 21st century Marked to applied metal label: CARL HANSEN & SON / PASSIONATE CRAFTSMANSHIP / Hans J. Wegner [signature] / DESIGN BY HANS J. WEGNER / MADE IN DENMARK / SERIAL NO. / 362541 The enameled wood frame with cording to seatback and seat 29” H x 27.75” W x 30.25” D $1,500-2,000 Provenance: Private collection, Irvine, CA

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105

Lorna Simpson

(b. 1960) “III” (Three Wishbones in a Wood Box), 1994 Three ceramic, bronze, and rubber wishbones within molded felt printed with waterless lithography in the original cedar wood box Edition of 5000 Attributed, dated, titled, editioned, and inscribed to lid interior Published/printed by The Peter Norton Family Christmas Project/21 Steps, Portland, Oregon 2.25” H x 5.5” W x 13.75” D $500-700 Provenance: The Estate of Herbert and Ann Lucas

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106

Elisabeth de Saedeleer (1902-1972)

A multicolored wool tapestry with fringe, early/mid-20th century Woven to a design by Edgard Tytgat (1879-1957) Depicting figures in a lush tropical landscape with flowers, trees, fruit, birds, and water Signed in the weave lower left: E de Saedeleer Tapestry: 76” H (with fringe) x 70” W $1,000-2,000 Provenance: The Estate of Herbert and Ann Lucas

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107

Polia Pillin (1909-1992)

Three glazed ceramic vases, mid-20th century Each signed to underside: Pillin Comprising an oval vase depicting two ladies with flowers, a tall cylindrical vase depicting two dancing ladies, and a wide-bodied vase depicting four horses 3 pieces Oval: 6” H x 4.625” W x 3.125” D; Dancers: 7.375” H x 2.75” Dia.; Horses: 8.25” H x 7.25” Dia. $400-600

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108

Polia Pillin (1909-1992)

Four glazed ceramic vessels, mid-20th century Each signed to underside: Pillin Comprising a long-neck vase depicting a lady, a globular vase depicting two horses, a cup depicting a lady, tree, and bird, and a weed pot depicting four roosters 4 pieces 8.25” H x 5” Dia. $300-500

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109

Polia Pillin (1909-1992)

Four glazed ceramic vases, mid-20th century Each signed to underside: Pillin Comprising one tall vase depicting two ladies with flowers, a conical vase depicting two dancers, a wide-bottomed vase depicting birds, and a square-bodied vase depicting birds and branches 4 pieces Tallest: 11.375” H x 3.125” Dia. $300-500 Provenance: Property from a Private collection, San Antonio, TX

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110

Polia & William Pillin (1909-1992 & 1910-1985)

Three glazed ceramic vessels, mid-20th century Tall vase and pot each signed to underside: W + P Pillin; bowl signed: Pillin Comprising a tall red glazed vase, a flambé glazed pot, and a bowl depicting three female riders on horseback 3 pieces Vase: 18.25” H x 4.75” Dia.; Pot: 4.25” H x 7” Dia.; Bowl: 6.375” H x 8” Dia. $400-600 Provenance: Property from a Private collection, San Antonio, TX

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111

Polia Pillin (1909-1992)

Two glazed ceramic plates, mid-20th century Each signed to underside: Pillin One depicting a lady, the other depicting three horses and two ladies 2 pieces Single lady: 2” H x 7.625” Dia.; Horses: 2.25” H x 8.75” W x 8.625” D, irregular $300-500 Provenance: Property from a private collection, San Antonio, TX

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112

Hans Hofmann

(1880-1966) Untitled, 1942 Crayon and ink on paper Signed with initials and dated in ink, lower right: HH 42; inscribed verso, possibly in another hand, “M1384-2”; with the Hans Hofmann estate ink stamp (and the same number written again) on the frame’s backing board Image/Sheet: 11” H x 8.5” W $5,000-7,000 Provenance: Ameringer McEnery Yohe Gallery, New York, NY Private collection, acquired from the above Sold: Christie’s Online, “First Open / Post-War and Contemporary Art,” December 9-18, 2019, Lot 262 Acquired by the present owner from the above Exhibited: New York, NY, Ameringer Howard Fine Art, “Drawn to Matisse: Modern & Contemporary Works on Paper,” September - October 1999

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113

Sidney Gordin

(1918-1996) “Feb. 1942” Oil on canvasboard Signed, titled, and dated lower right: S Gordin FEB 42; signed, titled, and dated again, all verso; titled and dated again on two labels affixed verso 20” H x 16” W $1,500-2,500 Provenance: Gallery Paule Anglim, San Francisco, CA

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114

Raphael Mazzucco

(b. 1970) Soldier encampment Ink, pigment, and gold leaf encased in resin mounted to plywood Appears unsigned 25” H x 84” W $3,000-5,000

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115

Francisco (Chico) da Silva

(1910-1985) Untitled, 1972 Gouache on canvas Signed and dated lower right: 1972 / F D Silva 9.75” H x 13” W $1,000-1,500 Provenance: Private collection, Brazil

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Jacob Moses Semiatin (1915-2003)

American abstract expressionist Jacob Se Jewish parents. In 1920, Semiatin emigrat New York. During the 1930s and 1940s, S After serving in World War II, Semiatin ret initially focused on the watercolor medium

By the 1950s and 1960s, Semiatin was als Gallery in New York as well as regularly sh eschewing New York art scene politics, Se the last decades of his life, resulting in a li auction market.

emiatin was born in a Jewish enclave of Dublin, Ireland to Hungarian ted with his parents and siblings to America and settled in Brooklyn, Semiatin was an active member of the Brooklyn Society of Artists. turned to New York fully committed to Abstract Expressionism and m.

so painting in oil and had a one-man show at the Contemporary Arts howing at the Brooklyn Museum and Leo Castelli Gallery. Ultimately emiatin largely withdrew from exhibiting and gallery representation in imited number of examples of his work to have been offered on the

116

Jacob Moses Semiatin

(1915-2003) Untitled abstract in orange, circa 1960 Oil on canvas Signed lower right: Semiatin 42” H x 26” W $2,000-4,000 Provenance: Private collection, La Jolla, CA

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117

Hilda Levy

(b. 1909) “Cosmic Cleavage # I,” 1963 Casein on Arches paper Signed and titled (twice each) in pencil on the frame’s backing board: Hilda Levy; titled in ink on the verso of the sheet; titled again, dated, and inscribed “Gift to JNL 1965,” all on a handwritten label affixed to a former frame’s backing board that accompanies the painting 22.5” H x 29.75” W $2,000-3,000 Provenance: The Estate of Hilda D. Levy Notes: The work is sold loose, together with a former frame’s backing board (cardboard) showing the artist’s signature, the title, and the label with the date and inscription as mentioned above. The former frame shows that the painting has been displayed both horizontally and vertically.

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118

Ed Moses

(1926-2018) Untitled, 1972 Pencil, colored pencil, marker, and masking tape on multilayered vellum paper, with tissue interleaving, all hinged to an illustration board, as issued Signed with the artist’s stylized initial lower right: E; titled and dated on a label affixed to the frame’s verso Image: 18” H x 25” W (irreg.); All sheets: 23.5” H x 30” W $3,000-5,000 Provenance: James Corcoran Gallery, Los Angeles, CA Notes: This piece is comprised of four layers: the outermost top layer is vellum paper, the second is tissue, the third is vellum paper, and the fourth is tissue, all hinged to an illustration board. The third layer is an additional composition, intended to show through to the outer layer, creating one cohesive piece with an opaque effect. This third layer contains masking tape, pink marker (or possibly watercolor), pencil, and blue, green, and pink colored pencil (or crayon) on vellum paper. Moses created several drawings in this manner, finding inspiration in both Mondrian’s late grid paintings and Navajo blankets.

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119

A group of twelve books on Bay Area Figurative painters 1985-2019 Hardcover and softcover books Twelve works:

“David Park: A Painter’s Life,” 2012 “The San Francisco School of Abstract Expressionism,” 1996 “David Park: A Retrospective,” 2019 “San Francisco and the Second Wave,” 2004 “Nathan Oliveira,” 2002 “David Park, Painter,” 2009 “The Art of Richard Diebenkorn,” 1997, First Edition “Art in the San Francisco Bay Area 1945-1980,” 1985 “S. C. Yuan,” 1994 “Bay Area Figurative Art 1950-1965,” 1990 “Elmer Bischoff: The Ethics of Paint,” 2001 “The New Figurative Painting of David Park,” 1988 Signed and Inscribed by the author 12 pieces Largest: 12.25” H x 10.25” W x 1.375” D $200-400

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Roland Petersen (b. 1926)

A member of the Bay Area Figurative Mo brushwork, and psychologically charged s in San Francisco, Petersen studied at the C faculty member and influential teacher. Em and Elmer Bischoff, he helped shape a dis reintroducing the human figure while main

Petersen’s mature work often depicted be everyday leisure scenes into dynamic com blues, and yellows, he built complex spati color to function as both emotional expre six decades, Petersen remained committe minimalism and conceptual art.

During the 1980s, Roland Petersen create intensifying his signature use of bold, satu frequently depict crowded beach scenes, painting, where figures seem to pulse with naturalistic realism, Petersen embraced ex device to unify the composition and ampl across the figures and tabletop setting of

ovement, Roland Petersen is celebrated for his bold color, expressive scenes of contemporary life. Born in Endelave, Denmark and raised California School of Fine Arts, where he later became a longtime merging in the 1950s alongside artists such as Richard Diebenkorn stinctly West Coast response to Abstract Expressionism by intaining a strong commitment to painterly structure and color.

each outings, park gatherings, and social encounters, transforming mpositions filled with tension and movement. Using saturated reds, ial arrangements that balanced abstraction and figuration, allowing ession and structural force. Over a career spanning more than ed to figurative painting even as artistic trends shifted toward

ed some of his most vibrant and theatrically charged paintings, urated color and dynamic composition. His works from this period , social encounters, and park and picnic gatherings, like the present h energy amid a heightened color palette. Rather than aiming for xpressive distortion and flattened space, using color as a structural lify psychological tension as with the diagonal bands of rain that cut “Rain Picnic Series.”

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120

Roland Petersen

(b. 1926) “Rain Picnic Series,” 1981 Acrylic on canvas Signed and dated upper center: Roland Petersen 1981; titled and dated again on the stretcher 46” H x 60” W $20,000-30,000 Provenance: Triton Museum of Art, Santa Clara, CA

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Helen Berggruen (b. 1945)

Helen Berggruen is a San Francisco-based balance, perception, and the subtle struct father was an art dealer, gallerist and colle form and intellectual inquiry, which later sh College, earning a bachelor’s degree in 19 a summer together working in Alabama w credited their friendship with fostering in h

Berggruen is especially known for her min carefully arranged objects such as ladders atmosphere. Working primarily in oil as we texture to create depth in an ongoing inve

d painter and printmaker whose contemplative works explore themes of tures underlying everyday life. Raised in a culturally engaged family—her ector Heinz Berggruen—she developed an early sensitivity to both visual shaped her distinctive artistic voice. Berggruen attended Sarah Lawrence 1967. There she was close friends with novelist Alice Walker, and they spent with a rural impoverished community. Through this connection, Berggruen her a strong social conscious.

nimalist yet expressive compositions like the present works, often featuring s, bowls, fruit and vegetables and geometric forms, that evoke meditative well as in monotype and other printmaking techniques, she layers color and estigation of space, light, and symbolism.

121

Helen Berggruen

(b. 1945) “Gathering Clouds,” 2018 Oil on canvas Signed lower left: H Berggruen; signed again, titled, and dated 2018, all verso; titled again on a label affixed to the stretcher 28” H x 22” W $1,000-1,500 Provenance: The artist George Krevsky Gallery, San Francisco, CA

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122

Helen Berggruen

(b. 1945) “Plain Vermicelli,” 1994 Oil on canvas Signed lower right: Helen Berggruen; signed again and dated 1994, verso; titled on a gallery label affixed to the stretcher 19.5” H x 27.5” W $800-1,200 Provenance: The artist George Krevsky Gallery, San Francisco, CA

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123

Larry Cohen

(b. 1952) “View from the Malibu Hills,” 1999 Oil on canvas Signed twice, on the verso and on the stretcher: Larry Cohen; titled and dated 1999 on a gallery label affixed to the stretcher 30” H x 24” W $1,200-1,800 Provenance: The artist Craig Krull Gallery, Santa Monica, CA Private collection, Beverly Hills, CA

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124

Anders Aldrin

(1889-1970) “Autumn Study,” circa 1935 Oil on board Signed lower right: Aldrin; titled and dated on a partially effaced label affixed verso: 193*; numbered “56” and “88” on additional labels affixed verso; partially titled and dated, possibly in another hand, on another label affixed to the frame’s backing paper 12” H x 16” W $800-1,200 Provenance: Triton Museum of Art, Santa Clara, CA

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Minas Avetisyan (1928-1975)

Minas Avetisyan was born in 1928 in the v The landscape and daily rhythms of his ho shaping the themes and identity of his art later, his participation in the “Exhibition of original voice in Soviet Armenian art.

Avetisyan’s style was marked by wild, exp aligned him with the spirit of Fauvism, yet manuscripts and folk art, and saw himself to capturing the Armenian soul. Avetisyan Khachaturian’s “Gayane” ballet and comp

In 1972, a fire destroyed much of his stud later. Yet, despite his short life, Avetisyan l art. His house-museum in Yerevan stands

village of Jajur, Armenia, a place that remained central to his life and art. ometown appeared throughout his paintings and played an active role in t. In 1960, he moved to Yerevan and held his first solo exhibition; two years f Five” in Yerevan brought him widespread recognition as a bold and

pressive brushwork and vivid, clashing colors. His brilliant use of color t remained rooted in Armenian tradition. He drew inspiration from medieval as a successor to Martiros Saryan, both in his palette and his devotion n also worked in theater and public art, designing the set for Aram pleting large murals in Gyumri.

dio and many of his finest works. He died tragically in 1975, just three years left behind a powerful body of work that continues to influence Armenian as a tribute to an artist whose vision remains deeply cherished.

125

Minas Avetisyan

(1928-1975) “Model,” 1963 Oil on canvas Signed in Armenian and dated lower left: Minas 63; signed and dated again, and titled, all in Armenian, verso 28.75” H x 39.25” W $10,000-15,000 Provenance: Private collection, Sherman Oaks, CA Notes: This lot is accompanied by a certificate of authenticity in Russian signed by Gayane Avetisyan-Mamajanyan and Arman Avetisyan.

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126

Minas Avetisyan

(1928-1975) Houses in a rural landscape, Jajur, Armenia, 1960-1970 Oil on canvas laid to artist’s board Unsigned; dated from the certificate of authenticity 10.125” H x 14.125” W $2,000-3,000 Provenance: Shahen Khachatrian, gifted from the artist Private collection, acquired from the above, March 14, 2019 Notes: This lot is accompanied by a certificate of authenticity in Russian signed by Gayane AvetisyanMamajanyan and Arman Avetisyan, as well as a handwritten note inscribed in Armenian by Shahen Khachatrian, former director of the Martiros Saryan Museum. 1 8 4 A r t + D e s i g n l Tu e s d a y, Marc h 2 4 , 2 0 2 6

127

Babken Kolozyan

(1909-1994) “Poppies,” 1979 Oil on canvas Signed in Armenian and dated lower right: Kolozyan 1979; signed and dated again, and titled, all in Armenian, verso 27.75” H x 31.75” W $2,000-3,000 Provenance: Private collection, Sherman Oaks, CA Notes: This lot is accompanied by a certificate of authenticity in Armenian.

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128

Babken Kolozyan

(1909-1994) “Autumnal Fruits,” 1979 Oil on canvas Signed in Armenian and dated lower right: Kolozyan / 1979; titled from the certificate of authenticity 27.5” H x 40.25” W $2,000-3,000 Provenance: Private collection, Sherman Oaks, CA Notes: This lot is accompanied by a certificate of authenticity in Armenian.

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129

Steve Miller

(b. 1951) Bedroom interior Oil on canvas Signed lower right: Steve Miller; signed again (twice) and inscribed with a Maryland address on the verso and the stretcher 56” H x 61” W $1,000-2,000 Provenance: Private Estate, California

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130

Alejandro Rubio

(20th/21st Century) “Downtown Rush,” 2008 Oil on canvas Signed lower right: A. Rubio; signed again: Alejandro Rubio, titled, and dated, all in ink on the frame’s backing paper 47.5” H x 60.25” W $800-1,200 Provenance: Triton Museum of Art, Santa Clara, CA

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131

Aaron Wrinkle

(b. 1978) “In Bloom,” 2016-17 Oil and mixed media on canvas Signed with initials, titled, and dated, all in green colored pencil on the stretcher: AW 16-17; inscribed on the canvas overlap: “Preliminary Tar Work” 24” H x 18” W $800-1,200 Provenance: Private collection, Los Angeles, CA

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132

Scott Moore

(b. 1949) “TV Dinner” Watercolor on Arches paper Signed and inscribed lower right: Scott Moore / AWS - NWS; inscribed on the frame’s backing paper, possibly in another hand: Scott Moore / TV Dinner Image: 21.5” H x 29.5” W; Sheet: 24” H x 32” W $1,000-2,000 Provenance: Private collection, Santa Barbara, CA, acquired directly from the artist

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133

Joseph Bertiers

(b. 1963) “What A Man Can Do A Woman Can Also Do,” circa 1990s Oil on flakeboard Signed lower right: Bertiers; titled along the center of the upper edge 20” H x 22” W $600-800 Provenance: Private collection, Los Angeles, CA

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134

Kishio Murata

(1910-1992) Untitled (cityscape), 1966 Oil on canvas Signed and dated lower right: K. Murata / 1966 28.75” H x 23.75” W $2,500-3,500 Provenance: Private collection, La Jolla, CA

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135

Chen Chi

(1912-2005) Untitled (deep sea divers) Watercolor and gold leaf on thin paper laid to Masonite Signed in gold leaf lower right: Chen Chi; presumably signed again and/or titled with Chinese characters in gold leaf, together with a red ink stamp, in the upper portion of the right quadrant Sight: 19.625” H x 16.625” W $1,000-1,500 Notes: The artist is also known as Chi Chen.

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Sam “Kirson” Kirszenc (1936-2008)

Born in Brussels, Sam Kirszencwajg immig he was a professional artist working in San person show “Japonesque / Icons” at Do Expressionism, Neo-Expressionism and ot humanistic concerns.

The artist described his work in the 2004 e communicating visually and emotionally. S resonating as they did with the discoverie creative act, and found panting to be a jo respond to what evolves on the canvas wi I always want to allow the viewer to projec personally.” “My art is deeply rooted in hu technological world....My paintings are gr shapes and forms pitted together in seem iconography.”

cwajg

grated to the East Coast with his family when he was fifteen. By the 1990s, n Pedro, California, and regularly exhibiting his work, including in a oneon O’Melveny Gallery in 2004. His work explored Surrealism, Abstract ther modern movements to create visionary art that reflected his deep

exhibition brochure as, “My art is figure-based, subjective, and a means of Structure appears unconsciously....Surrealism and abstract expressionism, es of psychiatry and depth psychology, affirmed the primal nature of the ourney into the basic, authentic self....The image, though I consciously ith my own decisions, is always arrived at through an intuitive process. ct his or her own associations into the painting and interpret it very uman concern and deals with the threat of depersonalization implicit in our rounded in a form of surrealism and expressionism, integrating fragmented ming chaos out of which I seek to redefine an order through a personal

136

Sam “Kirson” Kirszencwajg

(1936-2008) Neo-expressionist figural abstract, 2000 Mixed media including oil, pencil, and collage elements on canvas Signed and dated lower right: Kirszencwajg 2000 60” H x 48” W $800-1,200 Provenance: Estate of the artist

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137

Sam “Kirson” Kirszencwajg

(1936-2008) Neo-expressionist figural abstract Mixed media including oil, pencil, and collaged elements on canvas Unsigned 60.25” H x 48” W $800-1,200 Provenance: Estate of the artist Notes: This lot is accompanied by a pamphlet about the artist.

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138

An AVEM Murano glass ‘Bizantino’ dish Mid-20th century Unmarked With tutti frutti design to interior 3.25” H x 8.625” W x 8.75” D $300-500 Provenance: The Estate of Elaine Wynn

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139

A Barovier & Toso art glass vase

Mid/late 20th century; Murano, Italy Etched to underside: Barovier + Toso / Murano 10.625” H x 8.375” W x 5.25” D $300-500 Provenance: The Estate of Elaine Wynn

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140

A Barovier & Toso art glass vase

Mid/late 20th century Etched to underside: Barovier / + Toso / Murano 4.75” H x 5.875” Dia. $400-600

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141

A large Cenedese Murano art glass lidded vase

Mid/late 20th century Etched to underside: Cenedese With vertical stripes, the lid with gilt-embedded accents Overall: 24.5” H x 13.375” W x 12.75” D $400-600 Provenance: The Estate of Elaine Wynn

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Richard Marquis (b. 1945)

Richard Marquis was an American studio g distinctly irreverent, contemporary sensibi California, Berkeley, and later studied at th Littleton (1922-2013). Marquis was among the famed Venini factory and absorbing ce practice.

Throughout his career, Marquis became c technical virtuosity together with wit and v The Corning Museum of Glass, the Smith York. While deeply grounded in historical color, layered pattern, and playful form, o

Marquis’s ‘Crazy Quilt’ teapots are among through a patchwork of intricate canework series demonstrates his mastery of Veneti energetic, improvisational, and unapologe technical skill and visual exuberance, the ‘ glass, bridging historical craftsmanship an

glass artist known for combining traditional Venetian techniques with a ility. Born in Pueblo, Colorado, he earned his BFA from the University of he University of Wisconsin-Madison under pioneering glass artist Harvey g the first generation of American artists to train in Murano, Italy, working at centuries-old cane and murrine techniques that would become central to his

closely associated with the American Studio Glass movement, bringing visual complexity. His work is held in major museum collections, including hsonian American Art Museum, and the Museum of Arts and Design in New glassmaking traditions, Marquis rejected formal austerity in favor of bold often incorporating humor and cultural references into his objects.

g his most celebrated forms. These works reinterpret the traditional teapot k, assembling multicolored glass rods in dense, quilt-like compositions. The ian techniques while asserting a distinctly American aesthetic that are etically decorative. By elevating a domestic vessel into a tour de force of ‘Crazy Quilt’ teapots occupy an important place in late 20th-century studio nd postmodern expression.

142

Richard Marquis (b. 1945)

A ‘Crazy Quilt’ murrine glass teapot, 1986 Etched signature and date to underside: [c in a heart] / Marquis 9.125” H x 5.625” W x 4.625” D $2,500-3,500

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143

Danny Perkins

(b. 1955) “Red Set 2” Molded glass Unmarked 54.5” H x 8” Dia. approximately $1,000-1,500

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Dale Chihuly (b. 1941)

Born in Washington in 1941, Dale Chihuly artworks that dazzle with color and light. F designs to groundbreaking installations o environment in which it is displayed, from molten glass spun into abstract and some architectural marvel.

y is a master of glass blowing, creating magnificent sculptures and glass From single pieces like glass baskets modeled after Native American on a massive scale, Dale Chihuly’s art is designed to live within the m cities to buildings and botanical gardens. Made from brightly colored etimes asymmetrical shapes, Dale Chihuly’s sculptures are a modern and

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144

Dale Chihuly (b. 1941)

An art glass ‘Venetians’ series floral sculpture, 2023 Etched signature and date: Chihuly / 23 Including a box with the shipping label from Chihuly’s studio Award: 15.75” H x 6.75” Dia.; Box: 21.25” H x 16.5” W x 16.5” D $1,000-1,500 Provenance: Collection of Susan Feniger

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145

Dale Chihuly

(b. 1941) Venetian vases Acrylic on wove paper Signed along the lower edge: Chihuly Image/Sheet: 30” H x 22.25” W $1,500-2,500

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146

Dale Chihuly

(b. 1941) Japanese flowers Acrylic and glitter on paper Signed along the lower edge: Chihuly Image/Sheet: 21.75” H x 14” W $1,500-2,500

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147

Guy Robinson

(b. 1949) Surrealist still life with blue and white vase, 2021 Oil on linen Signed and dated lower right: g. Robinson / 9.9.’21 © 26” H x 24” W $1,000-1,500 Provenance: Spalding Nix Fine Art, Atlanta, GA

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148

Guy Robinson

(b. 1949) “Sacred Grove 5,” 2019 Oil on linen Signed, titled, and dated lower right: g. Robinson / 7.8.’19 © 26” H x 24” W $1,000-1,500 Provenance: Spalding Nix Fine Art, Atlanta, GA

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149

Karen S. Johnson

(b. 1948) “Watermelon Anyone?,” 2022 Oil on canvas Signed with initials lower right: KSJ; signed again: Karen S. Johnson, titled, and dated “2022,” all verso 11” H x 14” W $800-1,200 Provenance: KCM Galleries, Cape Coral, FL Notes: This lot is accompanied by a certificate of authenticity numbered Johnson-8998011.237084422, from the gallery mentioned above.

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150

Karen S. Johnson

(b. 1948) “Citrus Bowl,” 2022 Oil on canvas Signed with initials lower left: KSJ; signed again: Karen S. Johnson, titled, and dated “2022,” all verso 11” H x 14” W $800-1,200 Provenance: KCM Galleries, Cape Coral, FL Notes: This lot is accompanied by a certificate of authenticity, number Johnson-8998011.237084415, and alternatively titled “Fruit Basket,” from the gallery mentioned above.

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151

Robert Kushner

(b. 1949) “Large White Lilacs I,” 2007 Oil, acrylic, gold leaf, and copper leaf on canvas Signed, titled, and dated lower right: Robert Kushner / ‘07 84” H x 60” W $3,000-5,000 Provenance: DC Moore Gallery, New York, NY The Estate of Elaine Wynn, acquired from the above, 2011

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Seth Randal (b. 1957)

Seth Randal is best known as a contempo mediums including oil paint. Dynamic des of contrasting colors and a repeated, bold

A graduate of Parsons School of Design, R Early in his career, he was a product desig Cristal. Exploring themes of power, nature Abstracted and Dialogues. Randal’s work Montreal Museum of Fine Arts, and the Se

orary glass artist and sculptor, but also works as a designer in various signs like the present floral composition reflect the artist’s sophisticated use d composition.

Randal has worked in studio glass and metal for more than three decades. gner, collaborating with luxury brands such as Tiffany & Co. and Daum e and narrative, he created three distinct series: Adorned, Nature is held in over 20 major museums worldwide, including LACMA, the Seattle Art Museum.

152

Seth Randal

(b. 1957) Abstract composition with pansy-like flowers, 2009 Oil on canvas Signed with initials in red lower left: SR; dated by repute 36” H x 35.75” W $1,000-2,000

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153

Kirk Lybecker

(b. 1951) “Still life with Taco Wrapper” (Hell’s Bells), 1991 Watercolor on paper Signed lower right: Lybecker; titled and dated on a gallery label affixed to the frame’s backing paper Image/Sheet: 22” H x 30” W $300-500 Provenance: Gail Severn Gallery, Kechum, ID The Estate of Elaine Wynn

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154

William Maul

(b. 1954) “Man’s First Flight to Venus - The Female Planet,” 2007 Oil on canvas Signed and dated verso: W. Maul / 07; signed again on the canvas overlap; titled on two labels affixed to the stretcher 42” H x 30” W $500-700

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155

Itzchak Tarkay

(1935-2012) Seated ladies having coffee Acrylic on canvas Signed lower left: Tarkay 39.25” H x 32” W $1,200-1,800

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156

Peter Max

(b. 1937) “Two Sages Looking at Sunrise V,” 2018 Acrylic on canvas Signed lower right: Max; artist stamp with date, number, and copyright symbol, verso; titled on a label affixed verso 29” H x 23” W $2,000-4,000

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157

Robert Wyland

(b. 1956) “Abstract Drip” Watercolor on wove paper Signed lower left: Wyland; titled by repute Sheet: 30” H x 22.5” W $1,000-1,500 Provenance: Gol Art Gallery and Publishing, Las Vegas, NV Notes: This lot is accompanied by a certificate of authenticity dated October 20, 2023, reference #19419, from the gallery mentioned above.

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158

Gladys Nilsson

(b. 1940) “Turnabout Walk,” 2009 Watercolor and gouache on paper Appears unsigned; titled and dated on a gallery label affixed to the frame’s backing board Sheet: 14.125” H x 20.125” W $200-400 Provenance: Jean Albano Gallery, Inc., Chicago, IL The Estate of Elaine Wynn Notes: This image was featured in an article entitled “Eye Exam: Gladys and Eleanor” by Jason Foumberg, June 15, 2009, on the website “Newcity Art.” From July 19 - November 29, 2026 the Crocker Art Museum in Sacramento, CA is scheduled to host “Gleefully Askew: A Gladys Nilsson Retrospective,” the first museum survey of the artist’s work. Also, a wall drawing series is currently on view through August 9, 2026 at the Menil Drawing Institute, The Menil Collection, Houston, TX. 2 3 0 A r t + D e s i g n l Tu e s d a y, Marc h 2 4 , 2 0 2 6

159

Gladys Nilsson

(b. 1940) “Pour Favore,” 2006 Watercolor and gouache on paper Appears unsigned; titled and dated on a label affixed to the frame’s backing board Sheet: 9” H x 12” W $200-400 Provenance: Jean Albano Gallery, Inc., Chicago, IL The Estate of Elaine Wynn Exhibited: Chicago, IL, Women Made Gallery, “15th Anniversary Show,” August 3-30, 2007

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160

Amy Ellingson

(b. 1964) “Variation (Orange),” 2015 Oil and encaustic on panel Unsigned; with the artist’s wood branded stamp (twice) on the verso; titled and dated on the artist’s label affixed verso 36” H x 36” W x 2” D $2,000-3,000 Provenance: Triton Museum of Art, Santa Clara, CA

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161

Gustavo Ramos Rivera

(b. 1940) Untitled, 2019 Oil on canvas Signed and dated verso: G. Rivera. 2019 60” H x 48” W $1,000-1,500 Provenance: Triton Museum of Art, Santa Clara, CA

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162

Thomas Nozkowski

(1944-2019) Untitled (M-31), 2012 Mixed media on paper Signed, titled, dated (twice), and inscribed, all in pencil on the verso: Thomas Nozkowski, according to a photograph of the verso which accompanies the work Image/Sheet: 22.625” H x 30.375” W $5,000-7,000 Notes: According to the inscription shown in the photograph mentioned above (attached to the frame’s backing board), the artist used “gouache, colored pencil, oil crayon, and collage on print” to create this image.

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163

Iona Rozeal Brown

(b. 1966) “a3 blackface #63,” 2003 Acrylic on paper Signed in red with the artist’s “3rdi” device and dated “08 - - 2003” in the blank at lower left; titled from artist materials that accompany this lot Image/Sheet: 50” H x 38” W $3,000-5,000 Provenance: Private collection, Los Angeles, CA Exhibited: Atlanta, Georgia, Spellman College Museum of Fine Art, “Iona Rozeal Brown: a3...black on both sides,” January 22-May 14, 2004 Literature: Spellman College Museum of Fine Art, “Iona Rozeal Brown: a3...black on both sides” (Atlanta, Georgia) 2004, p. 51, illustrated Notes: According to the artist, her signature device is “...patterned to look like the stamps that Japanese woodblock printers put on their work.... It reads “3rdi” and then the date is on the right side. 3rdi signifies my being the 3rd Iona in my family...a great aunt, then my mother and then me.” This lot is accompanied by the exhibition catalog mentioned above and other materials related to the artist.

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164

Lezley Saar

(b. 1953) “What Are You?,” 2003 Mixed media assemblage with photographs, plastic fruit, and wax on altered book Signed, titled, and dated on a label affixed verso: Lezley Saar / 2003 15” H x 11.5” W x 1.5” D $2,000-3,000 Provenance: Private collection, Beverly Hills, CA

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165

Lezley Saar

(b. 1953) “Remember Uncle August the Unhappy Inventor?,” 2002 Mixed media assemblage on altered book Signed, titled, and dated on a label affixed verso 15” H x 11” W x 2” D $2,000-3,000 Provenance: Private collection, Beverly Hills, CA

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166

Lucien Clergue

(1934-2014) “Lucien Clergue,” The Alchan Edition Portfolio, printed 1982-1983 From the edition of unknown size Each signed in ink in the lower margin, at right: Lucien Clergue; signed again with the artist’s copyright, titled, with the date of the photograph, and the date of printing, all in ink, verso; Alchan Edition, New York, NY, pub.; each photograph is matted with four clear archival corners as issued; with the colophon page; all contained in the original blue clamshell portfolio box Sheet of each photograph (approx.): 11.25” H x 15.5” W (or reverse) $5,000-7,000 Provenance: Property from the Anni & Arthur Lipper III Collection, Del Mar, CA Notes: The plates are as follows: 1. Young Acrobats, Montebanks Duet, Arles, 1955 2. Gypsy Child and Family, Cannes, France, 1956 3. Pablo Picasso en the beach at Cannes, France, 1965 4. Matador Antonio Ordonez, San Sebastian, Spain, 1966 5. Nude on the Beach, The Camargue, France, 1968 6. Nude in the Sea, The Camargue, France, 1971 7. Nude in Yosemite National Park, California, 1974 8. Three Nudes in Limestone Quarries at Les Baux, Arles, France, 1977 9. Marshes, The Camargue, France, 1976 10. Beach of Sablons, The Camargue, France, 1976 11. Matador Nino de la Capea, Nimes, France, 1977 12. Language of the Sands, The Camargue, France, 1978 13. Three Nudes, “Les Geantes,” The Camargue, France, 1978 14. Nude, Blind Shadow, New York, 1978 15. Vikki, Zabriskie Point, Death Valley, Calif., 1981 This lot is accompanied by additional documentation materials related to the portfolio.

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167

Elliott Erwitt

(1928-2023) “Elliott Erwitt,” The Alchan Edition Portfolio, printed 1980 The set of fifteen gelatin silver prints on paper From the edition of 100 Each signed in pencil, verso: Elliott Erwin; “Corning Salvation Army Couple” inscribed “76-15-35/124,” in pencil, verso; Alchan Edition, New York, NY, pub.; each photograph loose as issued; with the colophon page; all contained in the original blue linen-covered clamshell portfolio box Sheet of each photograph: 20” H x 16” W (or reverse) $5,000-7,000 Provenance: Property from the Anni & Arthur Lipper III Collection, Del Mar, CA Notes: The plates are as follows: 1. Church At Wounded Knee,1969 2. Cracked Glass With Boy, Colorado, 1955 3. Hand In Doorway, Florida, 1968 4. Irish Wolfhound With Stick,1971 5. Seagull And Crossed Trees, Florida, 1975 6. Mies Van Der Rohe Building, Chicago, 1969 7. Rio Mountains And Bather, 1963 8. Ranch Boy With Father, 1954 9. Rocky Hill Meeting House, Massachusetts, 1969 10. Jackie Kennedy At Funeral, 1963 11. Stinson Beach Boy With Kite, 1975 12. Pigeon In Cobbled Street, Orleans, 1952 13. Corning Salvation Army Couple, 1976 14. Hippie Couple, Corning, 1976 15. Corning Boy Scout And Scout Master, 1976 This lot is accompanied by additional documentation materials from the publisher.

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168

Annie Leibovitz (b. 1949)

“Annie Leibovitz SUMO” (Patti Smith cover), 2014 Hardcover book on a stand Leibovitz, Annie. “Annie Leibovitz SUMO.” Introduction by Steve Martin. Cologne, Germany: Taschen, 2014 Edition: 3,845 of 10,000 plus 300 artist proofs Signed by Leibovitz to edition page Stand designed by Marc Newson Book: 28” H x 20.5” W x 3.5” D; Stand: 38.5” H x 35” W x 35” D $1,200-1,400

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169

Richard Nagler

(b. 1947) “Los Angeles, May 1987” Archival pigment photograph on paper From the edition of unknown size, printed 2023 Signed, titled, and dated in ink, all verso: Richard Nagler 2023; signed again and inscribed on the artist’s studio label affixed to the frame’s backing paper Image: 13.5” H x 19.5” W; Sheet: 19.25” H x 25.25” W $600-800 Provenance: Collection of the artist, Berkeley, CA Krevsky Fine Art, San Francisco, CA

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170

Shao Yinong (b. 1961) and Mu Chen (b. 1970) “Pukou,” from the “Assembly Hall” series, 2002-03 Chromogenic print on paper Appears unsigned; titled and dated by repute Sight: 47.5” H x 65.5” W $3,000-5,000 Provenance: Bonhams, San Francisco, CA, “Fine Asian Works of Art,” November 20, 2006, Lot 6155 The Grace Family Collection, St. Helena, California, acquired from the above

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171

Amir Zaki

(b. 1974) “Boring Weed Quite Dead, Same Weed Just Pulled,” 2003 Archival pigment photograph on paper Edition: 1/6 Signed, dated, and numbered in ink on the frame’s backing board: Amir Zaki 2003; titled and alternatively dated 2002 on two labels affixed to the frame’s backing board Sight: 21.25” H x 21.25” W $500-700 Provenance: Private collection, Los Angeles, CA

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172

Joseph Szabo

(b. 1944) “Priscilla,” 1969 Gelatin silver print on paper Edition: 40/75, printed later Signed, numbered, titled, and inscribed with copyright insignia in ink in the lower margin, under the mat: Joseph Szabo / Teenage; artist stamp verso with signature: Joseph Szabo; titled, dated, numbered and inscribed in another hand on a gallery label affixed to the frame’s backing board Image: 11.75” H x 18” W; Sheet: 16” H x 20” W $5,000-7,000 Provenance: Michael Hoppen Gallery, Ltd., London, England

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173

Richard Bunkall

(1953-1999) “City Gate” Oil on canvas Signed lower right: Bunkall; titled on the central horizontal stretcher bar 43” H x 59.5” W $8,000-12,000

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174

Jabulani Sam Nhlengethwa

(b. 1955) “View of Transwerke” (from Constitution Hill), from the “Joburg Selected” series, 2019 Mixed media with collaged print on paper and oil on canvas Signed and dated lower right: Sam / Nhlengethwa / ‘19; signed and dated again, and titled, all verso 37.5” H x 45.25” W $2,000-3,000 Provenance: The artist Goodman Gallery, Johannesburg, South Africa The Grace Family Collection, St. Helena, California Exhibited: Johannesburg, South Africa, Goodman Gallery, “Sam Nhlengethwa / Joburg Selected”, October 12 - November 16, 2019 Notes: The present work is part of a series created by Sam Nhlengethwa ahead of a 2019 exhibition that explored the artist’s relationship with and impressions of Johannesburg’s built environment. Never living within the city—Nhlengethwa was born in Springs and raised in Ratanda, Heidelberg, east of Johannesburg— the artist nonetheless has spent considerable time working in and around Joburg. For 25 years, he had a workspace at the Bag Factory in Fordsburg and also a studio at August House in Doornfontein. In works like “View of Transwerke” (from Constitution Hill), Nhlengethwa focuses on buildings and streets that reflect “his” city and the sights and reflections that have personally impacted him.

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John Havens Thornton (1933-2021)

John Havens Thornton was born in Mexico City to Am arts educator and fostered his early interest in art.

While pursuing a degree in mechanical engineering at also studied painting alongside classmate Frank Stella influence on Thornton’s early development as a painte

After graduating in 1955, Thornton relocated to New Y Electric. Artistic training resumed two years later when Crawford, a leading proponent of the Precisionist art m Academy of Design under Robert Phillip, an artist som

In the late 1950s, Thornton had a studio space on Mad Gorky and Willem de Kooning, beginning with a first s Massachusetts College of Art and would remain there Theater [3] Company, while also continuing to develop

In the early 1970s, Thornton was innovating again, gra paintings. In 1973, he produced the first grid paintings “mathematical precision” to the organization of his can

During the decades of the 1960s and 1970s, Thornton including: the Ward-Nasse Gallery; the DeCordova Mu Boston; The School of Art at the Museum of Fine Art, B Art Museum at Brandeis University. In 1967, a painting Contemporary American Painting” (which would beco

In 1984, Thornton settled in New Bedford, MA with his linear perspective and three-dimensional space for the colorful boxes, balls, doors, stairways and architectural Chirico painting.

Thornton continued to enjoy critical success with solo New Bedford Art Museum held a retrospective exhibit J Gallery in New York. Thornton’s work is in the collecti

merican parents and grew up in Upper Montclair, NJ. Thornton’s mother, Dorothy, was an artist and

t Princeton University, Thornton began creating cartoon illustrations for student publications. He a under William C. Seitz, who was a staunch champion of Abstract Expressionism and a great er.

York and began working as an industrial designer for Henry Dreyfuss Associates and General n he enrolled in the Arts Student League in 1957 taking classes with abstract painter Ralston movement in the 1920s and 30s. The following year, Thornton took classes at the National metimes labelled as “America’s last Impressionist.”

dison Avenue and exhibited works with fluid abstraction influenced by artists including Arshile show at Nordness Gallery in 1961. In 1962, Thornton moved to Boston to teach at the for two decades. During this time in Boston, Thornton also worked as a set designer for the p a signature style of abstract painting that was moving toward minimalism.

adually introducing representational pictorial elements into his formally completely abstract s, a painting construct the artist incorporated into his work for his remaining career which adding nvases by layering a uniformity of a grid layout on top of his already hard-line imagery.

n had a number of solo and group exhibitions in prominent Boston galleries and institutions useum; a two-person show with the artist Richard Hamilton at the Institute of Contemporary Art, Boston; the Hildreth Gallery at Nasson College; the Bromfield Gallery in Boston; and the Rose g by Thornton was included in the Whitney Museum of American Art’s “Annual Exhibition of ome the Whitney Biennial beginning in 1973).

s wife Pat Coomey Thornton, a fellow painter and textile artist. In the 1980s, Thornton turned to e first time. Through a series of untraditional still life pictures, like the present work, he arranged l building blocks in lifeless landscapes that seem to recall a sense of the uncanny like a Giorgio de

exhibitions at the Clark Gallery, Lincoln, MA, and Dartmouth Gallery, Dartmouth, MA. In 2004, the tion of the artist’s work and in 2015 a major survey show was mounted at the Bienvenu Steinberg & ions of Massachusetts museums Addison Gallery of American Art and the Rose Art Museum.

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175

John Havens Thornton

(1933-2021) “Light and Shadow,” 1987 Oil on canvas Signed and dated on the canvas overlap: Thornton ‘87; dated again and titled on a sheet affixed to the frame’s verso 20” H x 24” W $1,500-2,500 Provenance: K. Nathan Gallery, La Jolla, CA Notes: We are grateful to Keith Kelman of K. Nathan Gallery for his assistance in cataloging this lot.

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176

George Joji Miyasaki

(1935-2013) “Horizon Sunset,” 1961 Oil on canvas Signed and dated at the center of the lower edge: Miyasaki ‘61; signed again and titled in pencil, verso: Horizen [sic] Sunset 36” H x 36” W $4,000-6,000 Provenance: Paul Kantor Gallery, Beverly Hills, CA Notes: The work is titled “Horison [sic] in the Sunset” on a label, affixed to the stretcher, from the gallery mentioned above.

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177

A William Richardson coffee table and two nesting tables

Circa 1980s Each table etched to a stretcher: WR The table with a central drawer 3 pieces Coffee table: 18.75” H x 51.5” W x 24.25” D; Each nesting: 16.5” H x 16” W x 24.25” D $600-800 Notes: This lot is accompanied by two photographic catalogue pages with a price sheet, as well as a newspaper clipping that includes a photo of the artist in his studio. Also included are photocopies of a typed letter from the artist’s studio, an exhibition announcement, a business card, a bi-fold card with care instructions and history of the studio, and a newspaper cut-out of an advertisement.

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178

A William Richardson coffee table Circa 1980s Unmarked 18” H x 54.5” W x 28.5” D $500-700 Notes: This lot is accompanied by a typed letter from the artist’s studio, an exhibition announcement, a business card, a bi-fold card with care instructions and history of the studio, and a newspaper cutout of an advertisement. Also included are photocopies of two photographic catalogue pages with a price sheet, as well as a newspaper clipping that includes a photo of the artist in his studio.

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179

Walter Lamb (1900-1989)

A patio dining set for Brown Jordan, mid-20th century Each with bronze tubular frame, comprising a model C-2700 table with inset textured glass top, and four model C-1700 side chairs with cording to seatbacks and seats 5 pieces Table: 28.5” H x 48.5” Dia.; Each chair: 33” H x 18.75” W x 22” D $5,000-7,000

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180

Kipp Stewart (1928-2015)

A pair of patio armchairs for Terra, mid-20th century Each cantilevered bronze tubular frame with cording to seatbacks and seats 2 pieces Each: 33.5” H x 21” W x 25.25” D $1,500-2,000

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181

John Follis (1923-1994)

An Architectural Pottery bisque earthenware bowl model S-20, mid-20th century Unmarked The footed bowl with flat rim 4.875” H x 10.5” Dia. $600-800

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182

F. Carlton Ball (1911-1992)

A monumental glazed pottery vase, mid-20th century With a slightly flaring mouth over a tall cylindrical neck opening to a pulled ovoid body decorated with blue and brown glazes and abstract cobalt linear designs Unmarked 37” H x 18” Dia. $800-1,200

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183

Claude Conover

(1907-1994) “Mech,” 1982 Glazed stoneware Signed and titled to underside: Claude Conover 11” H x 15” W x 15” D $2,000-3,000 Provenance: Potter and Mellon Inc., Cleveland, OH Notes: This lot is accompanied by a purchase receipt from the abovementioned gallery, dated September 7, 2012, in original postage, as well as two copies of a staple-bound pamphlet “The Stoneware of Claude Conover,” one copy signed by the artist.

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184

Dora De Larios (1933-2018)

A glazed stoneware rooster, late 20th/early 21st century Incised to underside: de Larios 11.125” H x 7.875” W x 6.375” D $1,500-2,000

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185

Dora De Larios (1933-2018)

A glazed stoneware angel effigy vessel, late 20th/early 21st century Incised to underside: de Larios 10.625” H x 9.5” W x 5.5” D $1,200-1,800

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186

Betty Davenport Ford

(b. 1924) Gibbons, 1997 Patinated bronze on stone plinth Edition: 3/300 With artist’s chop mark, date, and edition in the casting: © BDF Bronze: 3.875” H x 3.25” W x 2.375” D; Overall: 6.375” H x 3.25” W x 3.125” D $800-1,200

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187

Betty Davenport Ford (b. 1924)

A glazed stoneware roadrunner wall panel, 2002 Incised signature and date verso: BETTY DAVENPORT FORD; incised recto: BDF 11” H x 15.5” W x 1.5” D $600-800

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188

Betty Davenport Ford (b. 1924)

Three miniature stoneware models of animals, late 20th/early 21st century Owls impressed with artist’s chop mark: BDF Comprising an owl group and two rodents raised on wood plinths 3 pieces Owls: 4.375” H 3.625” W x 1.875” D; Shortest overall: 2.25” H x 1.875” W x 2.125” D $400-600

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189

20th Century Contemporary School

Figural abstract Gouache on paper Indistinctly signed and inscribed in ink, lower right: To Kenny with gratitude / *** Sheet: 11.25” H x 8.5” W $200-300 Provenance: The Estate of Kenneth Donahue, the 2nd director of the Los Angeles County Museum of Art, LACMA By descent in the family, Glendale, CA

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190

Syd Soloman

(1917-2004) “Swinging Baroque” 1964 Mixed media with oil, collage, and pencil on paper Signed lower center: Syd Soloman; signed again, dated, titled, and inscribed on the frame’s backing board in ink: “SSSSwinging [sic] Baroque / Syd Solomon 1964 / Oil on Paper / 7” x 8” / Study for Sentinel 65” Sight: 7” H x 8” W; Sheet: 9” x 8.5” W (irreg.) $1,000-1,500 Provenance: The Estate of Kenneth Donahue, the 2nd director of the Los Angeles County Museum of Art, LACMA By descent in the family, Glendale, CA

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Val Arnold Samuelson (1913-2000)

Val A. Samuelson was a California desertlecturer. Samuelson grew up in Minnesota School of Art and the Minneapolis Institut color-filled abstract compositions, like the

Samuelson worked as an art director for tw worked as a part-time editor of the “Villag the Palm Springs Desert Museum for over La Quinta Arts Association and his work w Arizona, as well as in Chicago and Minnea

-based prolific artist, art director, teacher, professional art show juror and a and studied painting, sculpture and graphic design at the Minneapolis te of Fine Arts. In his artistic practice, Samuelson’s paintings feature bold e present painting from circa 1962.

wo advertising agencies in Los Angeles before moving to Palm Springs. He ger Magazine” (now “Palm Springs Life”) and also served as Art Director of r a decade. Samuelson was honored as “Artist of the Year” in 1990 by the was exhibited in one-person and group shows throughout California and apolis.

191

Val Arnold Samuelson

(1913-2000) “Futurity,” circa 1962 Oil on canvas Signed lower right: Val A. Samuelson; titled verso 30” H x 32” W $1,000-1,500 Provenance: Sold: Bonhams, Los Angeles, CA, “Sunset Estate Auction,” January 17, 2010, Lot 7026 K. Nathan Gallery, San Diego, CA Exhibited: Cathedral City, CA, Cathedral City Public Arts Commission, City Hall, “Val Samuelson,” October 2012-April 2013

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192

Sergio Vacchi

(1925-2007) “Nudo Ritorto” (Twisted Nude), 1960 Oil on canvas Signed lower left: vacchi 1960; signed and dated again, and titled, all verso 19.75” H x 39.5” W $800-1,200 Provenance: Galleria Odyssia, Rome, Italy Private Estate, California

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193

Jun Dobashi

(1910-1975) “Sunset at Le Havre” Oil on canvas Signed lower right: Jun Dobashi; titled on a gallery label affixed to the backing board 38” H x 51.25” W $1,500-2,500 Provenance: Dazell Hatfield Galleries, Los Angeles, CA Private Estate, California Exhibited: Chestertown, MD, Brady Hart Gallery, December 1, 2017-January 31, 2018

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194

Jun Dobashi

(1910-1975) “Composition Village Noir,” 1956 Oil on canvas Signed, dated, and inscribed lower right: Jun Dobashi / 56. “à Paris.”; signed, dated, and inscribed again, and titled, all on the stretcher 28.75” H x 23.75” W $800-1,200 Provenance: Sold: Weschler’s Auctioneers, Washington, D.C., “Capital Collections Estate Auction,” September 18, 2015, Lot 352 Private Estate, California

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195

Joel Barletta

(1924-2012) “Yellow #7,” 1965 Oil on canvas Signed, titled, and dated, all verso: Barlettta / Yellow #7-65 48.5” H x 60” W $1,200-1,800

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196

Fred Thomas

(1927-2022) California modern painting, circa 1960s Watercolor and mixed media on paper Appears unsigned Image/Sheet: 39.75” H x 30” W $800-1,200 Provenance: Private collection, La Jolla, CA Notes: Fred Thomas Martin attended the University of California, Berkeley and received his B.A. in 1949 and his M.F.A. in 1954. From 1949 to 1950, he studied with David Park, Mark Rothko, and Clyfford Still at the California School of Fine Arts. Martin served as the director of the San Francisco Art Institute from the mid-1960s to the mid-1970s. He resumed that association in 1983 serving as the Dean of Academic Affairs and eventually Professor Emeritus. w w w. j o h n m o r a n . c o m 2 8 5

197

Astor Milan Salcedo

(b. 1969) “Herakles and Nemea” Oil on canvas With the artist’s “X” device lower right; signed again and titled, verso 47.25” H x 47.25” W $600-800

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198

Ed Ruscha (b. 1937)

Five softcover artist’s books, 1970-2001 Five works: Ruscha, Edward. “Real Estate Opportunities.” Los Angeles: Edward Ruscha, 1970 First Edition of 4,000 Ruscha, Edward. “Colored People.” Los Angeles: Edward Ruscha, 1972 From the edition of 4,000 Ruscha, Edward. “Nine Swimming Pools (and a Broken Glass).” Los Angeles: Edward Ruscha, 1976 Second Edition of 2,000 Ruscha, Edward. “Cityscapes O Books,” New York: Leo Castelli Gallery, 1997 From the edition of 2,000 Ruscha, Edward. “S Books.” Zurich: The Coutts Contemporary Arts Foundation, 2001 First Edition of 2,000 5 pieces Two larger: 8” H x 5.75” W; Three smaller: 7” H x 5.625” W $800-1,200 Provenance: Triton Museum of Art, Santa Clara, CA Notes: Ed Ruscha never considered himself a photographer, as he stated in his conversation “I’m Not Really a Photographer” with A.D. Coleman. As such, his photobook projects are not traditional displays of photographic work. Instead, Ruscha focuses on the concept of the book as an object. The “contrived” concept precedes the photographic process, guiding him to find the right images to complete the final product. Since the publication of his first book, “Twentysix Gasoline Stations,” in 1963, Ruscha’s style and approach have influenced, been borrowed by, and even parodied by many other artists over the past six decades. Enigmatic and groundbreaking, his photobooks redefined artistic practices by blending the arbitrary with the seemingly mundane. Using minimalist typesetting, Ruscha confounds the beholder with concepts that are objective, setting-based, stagnant, or temporal. It is no surprise that these books have become essential items for collectors across all artistic mediums.

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199

Ed Ruscha

(b. 1937) “City,” 1969 Lithograph in colors on calendered Rives paper Edition: 13/20 (there were also three artist’s proofs) Signed, dated, and numbered in pencil along the lower edge: E. Ruscha 1969; inscribed in pencil on the verso: “calendered Rives;” Robert Rogers, prntr; Tamarind Lithography Workshop, Los Angeles, CA, pub., with the printer’s and publisher’s gray ink stamps, as well as the Tamarind pencil work number, 2536, all verso; Image/Sheet: 17” H x 24” W $20,000-30,000 Literature: Engberg 19; Tamarind 2536 Notes: Ed Ruscha is especially known for his word lithographs, in which single words or short phrases become the central visual subject. Emerging in the 1960s alongside Pop Art, Ruscha’s prints transform everyday language into bold, graphic compositions that blur the line between text and image. Rather than using words to describe a picture, he makes the word itself the picture, carefully choosing typefaces, color gradients, and spatial placement to evoke sound, mood, or atmosphere. Many of these lithographs, like the present work “City” executed in watery font, were produced at the Tamarind Lithography Workshop, where the precision of the medium allowed him to experiment with subtle tonal shifts and dramatic scale. By isolating language from its usual context, Ruscha invites viewers to consider how words function visually and culturally, turning simple text into a powerful exploration of modern communication and urban experience.

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Richard Serra (1938-2024)

Associated with Post-Minimalism and Proc mediums redefine space, weight, and view California, Berkeley, and Yale University.

Serra produced a significant and highly re echo the density and weight of his steel fo screenprints characterized by deep black “Torqued” and “Weight and Measure” se layers of ink to create velvety, matte surfac studies, Serra’s prints stand as independe paper with the same rigor that defines his

cess Art, Richard Serra was a sculptor and printmaker whose work in both ewer experience. Born in San Francisco, Serra studied at the University of

espected body of print work, particularly large-scale abstract prints that orms. Beginning in the 1970s, he created lithographs, etchings, and ink, stark contrasts, and bold geometric shapes. Works such as his eries translate his sculptural concerns into two dimensions, using thick ces that emphasize mass and presence. Rather than serving as preparatory ent works of art, exploring balance, compression, and spatial tension on s monumental sculptures.

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200

Richard Serra

(1938-2024) “Penn. Ship,” 1987 Lithograph on Arches Cover paper Edition: 18/31 (there were also eight artist’s proofs) Signed, dated, and numbered in pencil in the lower margin: R. Serra 87; Ken Farley, prntr.; Gemini G.E.L., Los Angeles, CA, pub., with their blindstamps in the lower right margin corner Image: 58” H x 50” W; Sheet: 61.5” H x 52.5” W $15,000-25,000 Provenance: Collection, Danville, CA Literature: Berswordt-Wallrabe 38; Gemini 1327, RS86-1150 Notes: “Penn. Ship.” is a monumental lithograph that exemplifies the artist’s exploration of weight, density, and spatial tension through printmaking. Created at Gemini G.E.L. in Los Angeles, the print features a massive, velvety black form that dominates the sheet, its curved edge suggesting both the hull of a ship and the imposing steel plates Serra used in his sculpture. The title references the historic shipbuilding industry of Pennsylvania, subtly linking the image to themes of labor, industry, and material force. Through a thickly inked surface and stark contrast between black and raw paper, “Penn. Ship.” conveys a sense of gravity and compression, transforming the flat plane into a space charged with physical presence and architectural scale.

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201

Donald Roller Wilson

(b. 1938) “The Shadow of Mrs. Jenkins’ Match On Her Melon,” 1985 Lithograph in colors on paper Edition: 2/60 Signed and numbered in pencil in the lower margin: Donald Roller Wilson 1985; with the printed title in the upper margin just above the image; an unidentified blindstamp on each of the lower corners Image: 10.5” H x 15.75” W; Sheet: 12” H x 17.75” W $600-800

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202

Donald K. Sultan

(b. 1951) “Black Bells, May 20, 1995,” 1995 Screenprint in colors on wove paper Edition: AP 8/15, aside from the edition of 100 Initialed, titled, and dated in pencil along the left margin: DS / May 20 1995; inscribed “AP” and numbered in pencil in the lower right margin corner; Watanabe Studio, Ltd., Brooklyn, NY, prntr. Image: 11.5” H x 8.125” W; Sheet: 18” H x 13” W $500-700 Provenance: Triton Museum of Art, Santa Clara, CA

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203

Charles “Chuck” Arnoldi

(b. 1946) “Venice #2,” 1996 Lithograph in colors on paper Edition: 13/20 Signed, dated, and numbered in pencil in the lower margin: Arnoldi 96; Hamilton Press, Venice, CA, pub. Image: 12.5” H x 10” W $600-800 Provenance: Triton Museum of Art, Santa Clara, CA

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204

Charles “Chuck” Arnoldi

(b. 1946) “Venice #12,” 1997 Lithograph in colors on paper Edition: 7/20 Signed, dated, and numbered in pencil in the lower right and lower left margin, respectively: Arnoldi 1997; Hamilton Press, Venice, CA. pub. Image: 12.5” H x 10” W; Sight: 13.375” H x 10.5” W $600-800 Provenance: Triton Museum of Art, Santa Clara, CA

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205

Charles “Chuck” Arnoldi

(b. 1946) Untitled, 1980 Oil pastel on paper Signed and dated in pencil lower right: Chuck Arnoldi 1980; dated on a gallery label affixed to the frame’s backing board. Image: 14.625” H x 12.625” W; Sheet: 16.25” H x 14.25” W $4,000-6,000 Provenance: Robert Elkon Gallery, New York, NY Private collection, Marina Del Rey, CA

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Richard Pettibone (1938-2024)

Richard Pettibone was a pioneer in appropri modern and contemporary art history. Born practice that involved carefully copying pain Frank Stella, Marcel Duchamp, and Pablo Pic them as replicas, often scaling them down d authorship, and the aura of the artwork, pos

Working across painting, drawing, and printm reproductions, emphasizing craft while ques Conceptual art and often linked to West Coa and reverential. Over the decades, his quietl strategies of appropriation.

Pettibone frequently engaged with the work canonical modern artworks in different scale work filling the foreground’s entire composit create a visual curtain the viewer looks throu functioned both as homage and critical inqu history, while demonstrating that replication

iation art, known for his meticulous, small-scale re-creations of iconic works from in Los Angeles, Pettibone began exhibiting in the 1960s and developed a ntings, drawings, and even entire exhibitions by artists such as Andy Warhol, casso. Rather than presenting these works as forgeries, Pettibone clearly labeled dramatically. By doing so, he challenged conventional ideas about originality, sitioning his practice as both homage and critical commentary.

making, Pettibone brought conceptual rigor and technical precision to his stioning the structures of value in the art market. Associated with early ast art circles, Pettibone maintained a distinctive voice that was both analytical ly radical work gained increasing recognition for anticipating later postmodern

k of Pablo Picasso as part of his broader practice of meticulously recreating es. In “Picasso, Table and Nude,” Picasso figures are rendered in expressive line tional surface. The busts and figural forms executed in a uniform lemon yellow ugh toward a table and nude vignette. Pettibone’s use of Picasso’s imagery uiry, examining how originality, genius, and market value are constructed in art itself could be a rigorous conceptual strategy.

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206

Richard Pettibone

(1938-2024) “Picasso, Table and Nude,” 1982 Oil on canvas Signed and dated lower right: Richard Pettibone 1982; dated again and titled on a gallery label affixed to the stretcher 12” H x 12” W x 1.5” D $15,000-20,000 Provenance: Tortue Gallery, Santa Monica, CA Private collection, Thousand Palms, CA Notes: An “Art Gallery / Los Angeles Valley College” ink stamp appears on the stretcher, possibly associated with a past exhibition.

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207

Steven Rushingwind-Ruiz

(b. 1959) “El Fosforo” (The Match), 2002 Carved wood Incised signature, date, and inscription near base: S. RUIZ / 02 / MAMNUFACTURED IN / SALEM, MA Overall: 95.25” H x 24.25” Dia. $1,000-2,000 Provenance: The artist Latino Art Museum, Pomona, CA

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208

Rod Kagan

(1940-2010) “CB Panel,” 1981 Polished brass and steel Edition: 8/12 Signed, dated, titled, and numbered verso: Rod KAGAN 52” H x 35.25” W x 9.75” D $600-800

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209

Jerome Kirk

(1923-2019) Kinetic wire sculpture Aluminum and wire Signature incised on lower disc: Kirk 20” H x 17.5” Dia. $3,000-5,000 Provenance: Private collection, Sherman Oaks, CA

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210

Jerome Kirk

(1923-2019) Perpetual Motion Aluminum and wire, articulated Inscribed on the base: Kirk 16.25” H x 15” W x 11” D, dimensions variable $3,000-5,000 Provenance: Private collection, Sherman Oaks, CA

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211

Jerome Kirk

(1923-2019) Mobile kinetic sculpture Aluminum and wire, articulated Inscribed initials on lower counterbalance: JK 14.75” H x 12” W x 4.75” D, dimensions variable $1,000-1,500 Provenance: Private collection, Sherman Oaks, CA

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212

Clayton George Bailey

(1939-2020) Ray Gun Metal Unmarked 7.625” H x 15.75” W x 3” D $400-600 Provenance: Estate of the artist

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213

Penny Mulligan

(20th Century) Branch arrangement sculpture Patinated bronze Unmarked 88” H x 30” W x 15.5” D $1,000-1,500 Provenance: The Estate of Elaine Wynn

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214

Anthony James

(b. 1974) Mask Bronze Unmarked Overall: 24” H x 5.625” W x 4.125” D $800-1,200 Provenance: The artist Private collection, Los Angeles, CA

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215

Beatrice Wood (1893-1998)

A group of glazed earthenware models of circus performers, mid-20th century Each unmarked Comprising two figures and a conjoined group mounted on a metal rod 3 pieces Conjoined with rod: 14.5” H x 8.5” W x 1.75” D; Larger single: 7.625” H x 8” W x 1.5” D $1,000-1,500

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216

Beatrice Wood (1893-1998)

A glazed earthenware plate, mid-20th century Signed to underside: BEATO 1.875” H x 11.625” Dia. $1,500-2,000 Provenance: Private collection, Ojai, CA, acquired circa 1950s and 1960s, possibly directly from Wood’s Studio By family descent

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217

Beatrice Wood (1893-1998)

Two glazed earthenware plates; mid-20th century Each signed to underside: BEATO 2 pieces Larger: 1” H x 7” Dia.; Smaller: 1.125” H x 6” Dia. $800-1,200 Provenance: Private collection, Ojai, CA, acquired circa 1950s and 1960s, possibly directly from Wood’s Studio By family descent

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218

Beatrice Wood (1893-1998)

A glazed earthenware bowl, mid-20th century Signed to underside: BEATO; later numbered, likely in another hand: 282 Each side with two figures in relief 6.125” H x 6.875” W x 5.25” D $600-800 Provenance: Private collection, Ojai, CA, acquired circa 1950s and 1960s, possibly directly from Wood’s Studio By family descent

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219

Beatrice Wood (1893-1998)

A lustre glazed earthenware footed bowl, mid-20th century Signed to underside: BEATO Molded with foliate designs in relief 5.625” H x 9” Dia. $700-900 Provenance: Private collection, Ojai, CA, acquired circa 1950s and 1960s, possibly directly from Wood’s Studio By family descent

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220

Beatrice Wood (1893-1998)

A glazed earthenware vessel, mid-20th century Signed to underside: BEATO 3.75” H x 5.75” W x 2.75” D $700-900 Provenance: Private collection, Ojai, CA, acquired circa 1950s and 1960s, possibly directly from Wood’s Studio By family descent

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221

Ken Price

(1935-2012) Glazed ceramic cup, 1970s Red and green glaze with pressed grid shapes Unmarked 3.375” H x 3.875” W x 2.875” D $1,500-2,500

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Paul Soldner (1921-2011)

Paul Soldner was one of the most influential ceramicist distinctly American art form. His life and career embod

Born on April 24, 1921, in Summerfield, Illinois, Soldne drafted into the Army during World War II, serving thre liberation of the Mauthausen concentration camp, exp the arts. He earned a bachelor’s degree in Art Educatio he was introduced to ceramics by visiting lecturer Katie

In 1954, he enrolled at the Los Angeles County Art Ins Under Voulkos’s mentorship, Soldner earned his MFA i developed new pottery wheels, and launched “Soldne ceramics, but also created monumental “floor pots” th After graduation, Soldner accepted a temporary teach Scripps and the Claremont Graduate School. He becam mistakes could lead to new discoveries. “The most diffi

Soldner’s most significant artistic achievement was his Potter’s Book,” he began experimenting in 1960. A for new possibilities. Soldner gradually redefined raku, shi spontaneity and surprise. His “American Raku” empha

In addition to raku, Soldner pioneered low-temperatur including the Victoria and Albert Museum, the Los Ang “Kilns and Their Construction” (1965), and helped foun

Soldner’s creativity extended into his personal life. He sense of adventure that defined his art. His contributio Paul Soldner’s legacy lies in his fearless pursuit of disco embrace accidents as opportunities, he reshaped mod willingness to play with fire.

ts of the twentieth century, celebrated for his inventive spirit and for transforming raku into a died curiosity, risk-taking, and a willingness to embrace the unexpected.

er did not initially plan to be an artist. He studied pre-med at Bluffton College in Ohio before being ee and a half years as a medic. He was wounded at the Battle of the Bulge and present at the periences that profoundly shaped his outlook. After the war, his interest shifted from medicine to on at Bluffton, followed by a master’s in Arts Administration from the University of Colorado, where e Horseman. At age thirty-three, Soldner decided to become a potter.

stitute and became the first student of Peter Voulkos, a revolutionary force in American ceramics. in 1956 and began a lifelong commitment to innovation. He modified studio equipment, er Pottery Equipment.” Unlike many of Voulkos’s students, he continued producing functional hat rose to eight or nine feet tall, merging painting, sculpture, and pottery. hing role at Scripps College in Claremont, California, which grew into a thirty-seven-year career at ame known as an inspiring teacher who encouraged experimentation, often showing students that ficult thing to teach is curiosity,” he said, “the next is the courage to do it.”

transformation of the Japanese firing technique raku. Initially inspired by Bernard Leach’s “A rtunate accidentódropping a hot vessel into leaves that ignited and smoked the glazeóopened ifting it away from the Japanese tea ceremony and toward a playful, intuitive approach that valued asized risk, discovery, and the beauty of chance, greatly expanding the aesthetic vocabulary of clay.

re salt firing and sculptural pedestal pieces. His works entered major collections worldwide, geles County Museum of Art, and the Smithsonian Institution. He wrote influential texts such as nd the Anderson Ranch Arts Center in Colorado, which remains a vibrant artistic hub.

built homes and hot tubs, crafted jewelry, cultivated bonsai, and made wine, living with the same ons earned him numerous honors, including the Aileen Osborn Webb Gold Medal. overy. By transforming raku into an American tradition and teaching generations of students to dern ceramics. His life reminds us that true creativity comes from curiosity, courage, and the

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Paul Soldner

(1921-2011) Untitled Pedestal Piece, 1985 Earthenware on iron base Unmarked Ceramic: 22.125” H x 24.75” W x 6.75” D; Overall: 23.75” H $1,500-2,000 Provenance: Frank Lloyd Gallery, Santa Monica, CA Private Collection, acquired from the above, March 18, 2000 Exhibited: Santa Monica, CA, Frank Lloyd Gallery, March 2000 Pomona, CA, American Museum of Ceramic Art, “Inferno: The Ceramic Art of Paul Soldner,” September 11-December 11, 2004 Notes: This lot is accompanied by a photographic copy of the purchase receipt from Frank Lloyd Gallery as well as the loan documents from American Museum of Ceramic Art.

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223

Pierre Soulages

(1919-2022) “Composition V,” 1957 Etching and aquatint in colors on BFK Rives paper Presumably from the edition of 100 Presumably signed and titled in pencil by the artist in the lower margin and in the lower left margin corner, respectively: Soulanges; Roger Lacourière, Paris, France, prntr.; Éditions M. Lacourière, Paris, France, pub. Plate: 15.5” H x 14.25” W (approx.); Sheet: 26.25” H x 20” W $5,000-7,000 Provenance: The Estate of Kenneth Donahue, the 2nd director of the Los Angeles County Museum of Art, LACMA By descent in the family, Glendale, CA Literature: Riviere 12 3 3 0 A r t + D e s i g n l Tu e s d a y, Marc h 2 4 , 2 0 2 6

224

Jacques Villon

(1875-1963) “Composition,” 1927 Etching and aquatint in colors on Arches paper Edition: 101/200 Signed and numbered in pencil in the lower margin; signed and dated “27” in the plate at lower right; Galerie Bernheim-Jeune, Paris, France, pub. Plate: 19.625” H x 13.375” W; Sheet: 25.75” H x 19.75” W $1,500-2,500 Provenance: The Estate of Kenneth Donahue, the 2nd director of the Los Angeles County Museum of Art, LACMA By descent in the family, Glendale, CA Literature: Ginestet & Pouillon E660

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225

Richard Diebenkorn

(1922-1993) Untitled, from “Drawings” portfolio, 1948 Offset lithograph on wove paper, tipped to the original wove paper support From the proposed edition of 200, of which far fewer were released Signed in pencil in the lower right of the mount: Diebenkorn; Eric Ledin, Mill Valley, CA, prntr. and pub. Image/Sheet: 11” H x 8.5” W; Mount: 12.75” H x 10.25” W $1,500-2,500 Notes: This lot is one plate from “Drawings,” a portfolio from 1948 containing 16 offset lithographs, with a total of three by Diebenkorn. The other artists, all former students at the San Francisco Art Institute, included George Stillman, Frank Lobdell, Walter Kuhlman, John Hultberg, and James Budd Dixon. Together the group exhibited as the Sausalito Six. The original purpose of the portfolio was to help raise money to support a local Sausalito gallery that showed their work, called the Seashore Gallery of Modern Art. Unfortunately, by the time the series was printed and published, the gallery had closed. In his book, “The Stamp of Impulse: Abstract Expressionist Prints,” author David Acton describes how “...One day Lobdell gave each of his colleagues paper offset lithography plates. His friend Eric Ledin, who owned a radio and television business, had received an old electric Multilith offset press in lieu of a debt. Ledin set up the machine in the basement of his house in Mill Valley, and as he taught himself to operate it, his friend Lobdell drew on a few aluminum and paper plates. Then he invited his colleagues to participate. Each of the six artists drew two or three plates, which were printed in Ledin’s basement over eight days. They completed seventeen prints [most of the portfolios only included sixteen] in editions of 200 and compiled them in an album, contained in a black paper envelope with a lithographed label. The artists offered the portfolios for sale at some of their exhibitions and in the CSFA bookstore at a cost of one dollar. In the end, the proceeds were just enough to buy a case of scotch and provided a rousing party.” Although not a huge commercial success at the time, the portfolio from which this lot comes, “Drawings,” is significant as it is said to be the first Abstract Expressionist portfolio printed in the United States.

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226

Geoffrey Clarke

(1924-2014) “Man,” 1950 Etching and aquatint in black ink on cream paper Edition: 2/25 Signed, dated, and numbered in pencil in the lower margin: Geoffrey P. Clarke / 1950 Plate: 13.875” H x 8” W; Sight: 14.125” H x 18.25” W $700-900 Provenance: The Fine Art Society, London, UK The Estate of Herbert and Ann Lucas Literature: LeGrove 66

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227

Geoffrey Clarke

(1924-2014) “Man” (Complexities of Man I), 1950 Etching and aquatint on paper An artist’s proof aside from the edition of approximately 25 Signed and inscribed in pencil along the right margin: Clarke A.P.; titled and dated on a gallery label affixed to the frame’s backing board Plate: 14” H x 6.5” W; Sight: 14.5” H x 7.5” W $300-500 Provenance: The Fine Art Society, London, England The Estate of Herbert and Ann Lucas, acquired from the above, November 2006 Notes: This lot is accompanied by a copy of a sales invoice, dated November 16, 2006, from the gallery mentioned above. Another impression of this image in the permanent collection of the British Museum, London, England, includes the following curator comments: The design is closely related to an iron sculpture, also produced in 1950, titled ‘Figure’ or - as a sign of its relation to the print ‘Complexities of Man’ (now Tate; see P. Black, ‘Geoffrey Clarke: Symbols for Man: Sculpture and Graphic Work 1949-94’, London, 1994, p. 34-5). An edition of 25 was begun by the artist in 1950, of which, according to LeGrove, numbers 2, 4-10 were printed on laid paper, and in the following year it was included in Clarke’s thesis for the Royal College of Art, titled ‘An Exposition of a Belief’ (no. 4), where it was accompanied with a description developing the print’s titles: ‘Man. Suggesting the complexities of the human form and the growth of nature surrounding him’. A further edition of 25 followed the creation of a new state, distinguished by the addition of the letter ‘C’ seen in this impression, and five further proofs were also made in 1976, printed on wove at the Royal College of Art for the Taranman Gallery.”

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228

Geoffrey Clarke

(1924-2014) “Footballers,” 1953 Etching and aquatint in colors on paper Edition: 1/50 Signed, dated, and numbered in pencil in the lower margin: Clarke / 53.; titled and dated again on a gallery label affixed to the frame’s backing board Plate: 10.875” H x 13.875” W; Sight:11.5” H x 14.75” W $700-900 Provenance: Reba and Dave Williams, New York, NY The Fine Art Society, London, England The Estate of Herbert and Ann Lucas, acquired from the above, March 2008 Exhibited: London, England, The Fine Art Society, “Geoffrey Clarke: Sculpture, Constructions and Works on Paper 1949-2000,” no. 102 Notes: This lot is accompanied by a copy of a sales invoice dated March 14, 2008, from the gallery mentioned above. 3 3 8 A r t + D e s i g n l Tu e s d a y, Marc h 2 4 , 2 0 2 6

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Geoffrey Clarke

(1924-2014) “Pilgrim,” 1950 Etching and aquatint on paper A proof aside from the edition of unknown but presumably small size Signed and inscribed “Proof” in pencil in the lower margin: Clarke; titled and dated on a gallery label affixed to the frame’s backing board Plate: 10” H x 14.875” W; Sight: 11” H x 5.75” W $300-500 Provenance: The Fine Art Society, London, England The Estate of Herbert and Ann Lucas, acquired from the above, November 2006 Notes: This lot is accompanied by a copy of a sales invoice dated November 16, 2006, from the gallery mentioned above.

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230

Frank Auerbach

(1931-2024) “Leon Kossoff” from “Six Etchings of Heads,” 1980-81 Etching on wove paper A studio copy aside from the edition of 50 Signed, titled, dated, and inscribed, all in pencil in the lower margin: Auerbach 80 / “Studio Copy” / “to Terry with many thanks, Frank”; Terry Wilson at Palm Tree Studios, London, England, prntr.; Bernard Jacobsen, London, England, pub. Plate: 6” H x 5.5” W; Sight: 7.25” H x 6.5” W $700-900 Provenance: LA Louver, Los Angeles, CA The Estate of Herbert and Ann Lucas Literature: Marlborough Graphics 11 Notes: This lot is accompanied by a copy of a sales invoice dated April 22, 1998, from the gallery mentioned above. 3 4 0 A r t + D e s i g n l Tu e s d a y, Marc h 2 4 , 2 0 2 6

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Frank Auerbach

(1931-2024) “R B Kitaj,” from “Six Etchings of Heads,” 1980-81 Etching in gray and black on wove paper Edition: 16/50 Signed, titled, dated, and numbered, all in pencil in the lower margin: Auerbach 80; Terry Wilson at Palm Tree Studios, London, England, prntr.; Bernard Jacobsen, London, England, pub. Plate: 6” H x 5.375” W; Sight: 7” H x 6.5” W $700-900 Provenance: LA Louver, Los Angeles, CA The Estate of Herbert and Ann Lucas Literature: Marlborough Graphics 10 Notes: This lot is accompanied by a copy of a sales invoice dated April 22, 1998, from the gallery mentioned above.

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232

Jack Levine

(1915-2010) “All Girl Band,” 1972 Mixed media on Arches paper laid to board Signed lower left: J Levine; titled and dated from gallery labels affixed to the frame’s backing paper Sheet: 41” H x 26.5” W $6,000-8,000 Provenance: Kennedy Galleries, Inc., New York, NY Debra Force Fine Art, Inc., New York, NY George Krevsky Gallery, San Francisco, CA Notes: Social realist painter and printmaker Jack Levine was renowned for his satirical, often darkly humorous depictions of urban life, politics, and human folly. Born in Boston, Levine trained at the Boston Museum School, developing a style that combined robust, expressionistic brushwork with sharp social commentary. His paintings and prints frequently portray crowded city scenes, politicians, businessmen, and everyday citizens caught in morally complex or absurd situations, exposing greed, corruption, and social pretension. Drawing inspiration from European masters like Honoré Daumier and George Grosz, Levine blended realism with exaggeration to create psychologically charged, vividly colored works that remain both visually engaging and intellectually provocative, cementing his reputation as a key figure in 20th-century American figurative art.

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233

Ruth Gikow

(1913-1982) “Time Passes,” 1979 Oil on canvas Signed lower left: Gikow; titled and dated 1979 on various labels affixed to the stretcher and frame’s verso 30” H x 20” W $2,000-3,000 Provenance: Kennedy Galleries, Inc., New York, NY George Krevsky Gallery, San Francisco, CA

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Harold Frank (1917-1995)

Harold Frank was raised in the tenements of army, he traveled to Paris to study and return the National Academy of Design, Pratt Instit Diebenkorn, who had a lasting influence on and Willem de Kooning. He was shown inter throughout the United States from the 1960

f New York and exhibited a talent for drawing at an early age. After a stint in the ned to New York in the 1950s. He attended the New York Art Students League, tute, Chouinard Art Institute and UCLA where he was a colleague of Richard his work. Other artists who influenced him included Matisse, Rouault, Picasso ernationally in London, Paris, Amsterdam and Aubonne, Switzerland, as well as 0s through the 1980s.

234

Harold Frank

(1917-1995) Portrait of a model Oil and acrylic on paper laid to a foam board Signed lower right: H. Frank Sheet: 28” H x 22” W $4,000-6,000 Provenance: Estate of the artist K. Nathan Gallery, San Diego, CA, acquired from the above Literature: Sandie Stern, “Harold Frank Abstract Expressionist 1921-1995,” (Montebello, CA, 2001) p. 78, no. ABNUDE 1306, illustrated Notes: This lot is accompanied by the book “Harold Frank Abstract Expressionist 1921-1995.”

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235

Harold Frank

(1917-1995) “Study in Blue,” 1961 Tempera on paper laid to a foam board Signed and dated lower right: H. Frank 61; titled on a label affixed to the frame’s verso Sheet: 22.125” H x 17.25” W $3,000-5,000 Provenance: Estate of the artist K. Nathan Gallery, San Diego, CA, acquired from the above

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236

Harold Frank

(1917-1995) “Portrait of a Young Woman” Oil on panel Signed lower right: H. Frank; titled on a label affixed to the frame’s verso 17” H x 12.625” W $1,500-2,500 Provenance: Estate of the artist K. Nathan Gallery, San Diego, CA, acquired from the above

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237

Harold Frank

(1917-1995) “Bouquet of Excellence” Tempera and oil on paper tipped to a foam board Signed lower right: H. Frank; titled by repute Sheet: 19.875” H x 15.875” W $1,500-2,500 Provenance: Estate of the artist K. Nathan Gallery, San Diego, CA, acquired from the above

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Margaret Keane (1927-2022)

Margaret Keane was an American artist with melancholic figures with expressive “big eye who viewed the paintings but also spoke to once said, “The eyes I draw on my children a Her paintings, often of children, women, and 1960s and beyond. Despite her distinctive v then-husband, Walter Keane, falsely claimed For years, Margaret painted in private while of the “big eyes” paintings captured public public revelation in the 1970s.

A 1986 courtroom showdown famously conc artist behind the iconic works. Keane’s story works became brighter and more hopeful, re release of Tim Burton’s film “Big Eyes,” whic

Margaret Keane’s legacy lies not only in her assert her creative identity. Her big-eyed figu both pain and perseverance.

h international acclaim, especially known for her signature style: haunting, es.” The large eyes that Keane painted onto her figures not only intrigued those the profound and emotional meaning Keane was imparting in her work. Keane are an expression of my own deepest feelings. Eyes are windows of the soul.” d animals, evoke an emotional vulnerability that resonated with audiences in the voice as an artist, Keane’s early career was overshadowed by controversy, as her d credit for her work. Walter marketed and sold the pieces under his name. The emotional intensity fascination, but the truth behind their creation remained hidden until Margaret’s

cluded with a live painting challenge, where Margaret proved she was the true is one of resilience and self-reclamation. After reclaiming authorship, her later eflecting her liberation. In 2014, her life gained renewed attention with the ch dramatized her struggles and triumphs.

evocative and widely beloved artwork but also in her courageous journey to ures continue to look out at the world with a depth of feeling that speaks to

238

Margaret Keane

(1927-2022) “Why,” 1965 Oil on canvas Signed and dated lower left: © Keane 1965; titled by repute 36” H x 24” W $6,000-8,000 Provenance: Triton Museum of Art, Santa Clara, CA

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Jessie Homer French

(b. 1940) “Kate and Ian,” 1982 Oil on canvas Signed lower right: Homer; titled lower left; signed and titled again, and inscribed “copyright © 1982 / Homer Handling Corp.,” all on the stretcher bar 44.75” H x 26” W $7,000-10,000 Provenance: Ankrum Gallery, Los Angeles, CA Private collection, Studio City, CA, from the above

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240

Jessie Homer French

(b. 1940) “Medusa, N.Y.,” 1982 Oil on canvas Signed and titled lower right and lower left, respectively: Homer; signed and titled again, dated, and inscribed with the copyright insignia on the stretcher: “by Homer / ‘Medusa, N.Y.’ / Copyright © 1982 / Homer Handling Corp.” 12.25” H x 16.75” W x 2.75” D $3,000-5,000 Provenance: Ankrum Gallery, Los Angeles, CA Private collection, Studio City, CA, acquired from the above

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Jessie Homer French

(b. 1940) “Albany County” Oil on panel Signed and titled lower right and lower left, respectively: Homer; inscribed with copyright insignia on the frame’s paper backing 9” H x 11.25” W $2,000-3,000 Provenance: Ankrum Gallery, Los Angeles, CA Private collection, Studio City, CA, acquired from the above

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242

David Remfry

(b. 1942) “Dr. Froude and Companion,” 1981 Watercolor and pencil on paper Signed and dated in the lower right: David Remfry 1981; titled on a gallery label affixed to the frame’s backing board Sight: 37” H x 26.25” W $700-1,000 Provenance: Ankrum Gallery, Los Angeles, CA Private collection, Studio City, CA, from the above

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243

David Remfry

(b. 1942) A well-dressed couple, 1981 Watercolor and pencil on paper Signed and dated in the lower right: David Remfry 1981 Sight: 40” H x 25.875” W $700-1,000 Provenance: Ankrum Gallery, Los Angeles, CA, by repute Private collection, Studio City, CA, from the above

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Harrison McIntosh (1914-2016)

A Harrison McIntosh stoneware expression is instan Claremont, CA, McIntosh threw a harmonious aest forms, spanning a career of over 60 years.

Born In Vallejo, CA to artistically supportive parent University of Southern California under instructor G where he honed his craft under Al King in 1947 an meaningfully punctuated by a Bernard Leach semi Wildenhain at Pond Farm in Guerneville, CA in 195 nature and design was a primary inspiration for his

Aside from Marguerite, McIntosh also drew a profo potter Shoji Hamada toured the United States acco techniques and philosophies that date back to the “selflessness” and “spontaneity” that Hamada esp ego and the intention of artfulness from his focus,

By the mid-1950s, his ceramics had become synon a design obsession marketed nationwide. His pott “Art and Architecture” alongside international des his work was staged in room vignettes that showca Shows at the Pasadena Art Museum, and shows he curated in tandem by McIntosh and Maloof.

Throughout his career, his work has been shown at Newman Galleries, and Frank Lloyd Gallery. Today, American Craft Museum in New York, the Museum

ntly recognizable and timeless, although distinctly Southern Californian. From his studio in thetic of clean lines and geometric symmetry together with an appreciation for natural

ts, the family later moved to Los Angeles, where Harrison took his first ceramics class at Glenn Lukens. After serving in the Army during World War II, he returned to Los Angeles, nd Richard Peterson at the Claremont Graduate School from 1948-1952. This time was inar at Mills College in 1950 and a summer workshop led by his future wife Marguerite 53. Marguerite would prove to be his greatest champion and supporter, and her love of s life’s work.

ound inspiration from Japanese mingei ceramics. In the early 1950s, treasured Japanese ompanied by Bernard Leach and philosopher Soetsu Yanagi, demonstrating the mingei e Momoyama period (late 16th century). Like many of his peers, McIntosh took to heart the poused as core tenets to the mingei process. McIntosh applied this approach, removing his allowing for an elegant simplicity and subtle perfectionism to emerge.

nymous with the California aesthetic, which during the post-World War II era had grown into tery vessels were featured in nationally distributed magazines such as “House Beautiful” and signers like Isamu Noguchi, Peter Voulkos, George Nelson, and friend Sam Maloof. Locally, ased the Modern aesthetic at such venues as the Los Angeles County Fair, California Design eld at the Pan Pacific Auditorium including the “California Living” show held in 1957,

t Los Angeles institutions such as Bullocks Wilshire, Craft and Folk Art Museum, Louis y, collections of his work can be found in museums around the world including LACMA, the m of Fine Arts in Boston, and The Louvre in Paris.

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Harrison McIntosh (1914-2016)

A glazed stoneware lidded jar, mid-20th century Impressed with potter’s chop mark: HM; applied paper label to the underside: Handthrown Stoneware / Harrison McIntosh / Claremont / California With cerulean blue glaze and mishima circles 9.5” H x 6” Dia. $4,000-6,000 Provenance: Private collection, through the family of Harrison McIntosh Literature: c.f. Christy Johnson et al., “Harrison McIntosh: A Timeless Legacy” (Pomona, CA: American Museum of Ceramic Art, 2009), p. 63

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Harrison McIntosh (1914-2016)

A glazed stoneware lidded jar, mid-20th century Impressed with potter’s chop mark: HM; applied paper label to the underside: Handthrown Stoneware / Harrison McIntosh / Claremont / California With pale green glaze and sgraffito lines 9” H x 5.5” Dia. $2,500-3,500 Provenance: Private collection, through the family of Harrison McIntosh

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Harrison McIntosh (1914-2016)

A glazed stoneware bowl, mid-20th century Impressed with potter’s chop mark: HM; applied paper label to the underside: Handthrown Stoneware / Harrison McIntosh / Claremont / California With cream glaze and mishima circles 4” H x 8.75” Dia. $2,500-3,500 Provenance: Private collection, through the family of Harrison McIntosh

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247

Harrison McIntosh (1914-2016)

A glazed stoneware bowl, mid-20th century Impressed with potter’s chop mark: HM; applied paper label to the underside: Handthrown Stoneware / Harrison McIntosh / Claremont / California With dark blue and cream glazes and carved lines 6125” H x 12.25” Dia. $2,000-3,000 Provenance: Private collection, through the family of Harrison McIntosh

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248

Harrison McIntosh (1914-2016)

A glazed stoneware bowl, mid-20th century Impressed with potter’s chop mark: HM; applied paper label to the underside: Handthrown Stoneware / Harrison McIntosh / Claremont / California With pale blue glaze and sgraffito lines 4.625” H x 12.625” Dia. $2,000-3,000 Provenance: Private collection, through the family of Harrison McIntosh

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249

Harrison McIntosh (1914-2016)

A glazed stoneware bowl, mid-20th century Impressed with potter’s chop mark: HM; applied paper label to the underside: Handthrown Stoneware / Harrison McIntosh / Claremont / California With dark blue, grey, and cream glazes, and mishima and sgraffito lines 5.5” H x 7.5” Dia. $2,000-3,000 Provenance: Private collection, through the family of Harrison McIntosh

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251

A glazed stoneware bowl, mid-20th century Impressed with potter’s chop mark: HM; applied paper label to the underside: Handthrown Stoneware / Harrison McIntosh / Claremont / California With dark blue, grey, and cream glazes, and mishima and sgraffito lines 2.875” H x 5.375” Dia.

Two glazed stoneware footed bowls Each impressed with potter’s chop m Handthrown Stoneware / Harrison M Each with black and white glazes, an 2 pieces Each: 2.625” H x 5.625” Dia.

Harrison McIntosh (1914-2016)

$1,000-1,500 Provenance: Private collection, through the family of Harrison McIntosh

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Harrison McIntosh (1914-2016)

$1,000-1,500

Provenance: Private collection, through the famil

)

s, mid-20th century mark: HM; applied paper label to the underside: McIntosh / Claremont / California nd brush spots

ly of Harrison McIntosh

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252

Harrison McIntosh (1914-2016)

Two glazed stoneware vessels for Jorgana, mid-20th century Vase incised: McIntosh [script]; bowl impressed with potter’s chop mark: HM Comprising a vase with brown glaze and carved with figures and lettering, and a low bowl with grey glaze and carved with figures to well interior 2 pieces Vase: 6.875” H x 3.625” Dia.; Bowl: 1.375” H x 5.5” Dia. $1,000-2,000 Provenance: Private collection, through the family of Harrison McIntosh

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253

Pieter van der Hem (1885-1961) “Op reis” (On a trip)

Watercolor, charcoal, and mixed media on paper with a partial axe and anchor blindstamp Signed lower right: P. van der Hem; faintly signed again in pencil on the verso of the frame’s backing board, possibly in another hand; inscribed in ink, possibly in another hand, with the title [Onderwerp/subject], the artist’s name, and a number, “997 ag,” all on an old label affixed to the frame’s backing board; the backing board is also inscribed in various hands, in a combination of black ink, blue chalk, and white chalk: DV8 / H68 / 28A Sight: 23.25” H x 18” W; Sheet 23.625” H x 18.375” W $600-800

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254

Don Cook

(20th Century) Illustrated advertisement, circa 1960s Ink on paper Signed, at center, as part of the self-promoting advertisement: Don Cook Sight: 17.25” H x 14.5” W $500-700 Provenance: Private collection, Beverly Hills, CA Notes: This work is an illustrated advertisement promoting custom illustration and painting services by the artist Don Cook.

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255

Richard Long

(b. 1945) “Mud Finger Piece,” 1984 Monotype in mud on mat board Edition: 73/100 Stamp-signed, titled, dated, and numbered in red ink at lower right: Richard Long / Mud Finger / Piece 1984; numbered in pencil in the same area; signed, titled “Mud Finger,” dated, and inscribed “mud on paper,” all in ink, presumably in another hand, on the frame’s backing paper Sheet: 12.25” H x 17.75” W $600-800 Provenance: Triton Museum of Art, Santa Clara, CA

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256

Iwao Akiyama

(1921-2014) “Owl,” 1972 Woodcut on handmade Japanese paper laid to tissue paper Edition: 46/100 Signed and titled in Japanese, dated, and numbered, all in pencil in the lower margin; with the artist’s red ink seal in the lower margin, at right Image: 17.5” H x 15.5” W (approx.); Sight: 23.5” H x 21.5” W $600-800 Provenance: From the Collection of Loni Anderson

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257

Sam Maloof (1916-2009)

A reclining lounge chair, 1972 Chair with burn marked signature and date: No. 69 Nov. 1972 Sam Maloof; ottoman incised: F Each upholstered in black leather, comprising an armchair with reclining mechanism with three settings, together with a conforming ottoman with tilting action by David Potter 2 pieces Chair: 46.75” H x 31” W x 37” D; Ottoman: 15” H x 25.75” W x 23” D, dimensions variable $5,000-7,000 Provenance: David Potter, Los Angeles, California Sold: Bonhams, Los Angeles, CA, “Modern Design | Art,” October 21, 2021, Lot 192 Private Collection, San Marino, California, acquired from the above Sold: Bonhams, Los Angeles, CA, “Modern Design | Art,” July 25, 2024, Lot 184 Private collection, California, acquired from the above

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258

Sam Maloof (1916-2009)

A walnut rocking chair commissioned for John Kenneth Hull (1901-1985, CA), mid/late 20th century Bottom seat rail burn marked with Sam Maloof brand; and impressed: J. K. Hull With spindle back and black leather upholstered seat cushion 45.5” H x 28” W x 41” D $10,000-15,000

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259

A Modern petrified wood table

Late 20th century The top in-filled with resin, raised on an enameled metal X-form base 18.5” H x 40” W x 36.5” D $800-1,200

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260

Harrison McIntosh (1914-2016)

A glazed stoneware plate, mid-20th century Impressed with potter’s chop mark: HM; applied paper label to the underside: Handthrown Stoneware / Harrison McIntosh / Claremont / California With cerulean blue and cream glazes, and mishima lines 1.375” H x 12.625” Dia. $1,000-1,500 Provenance: Private collection, through the family of Harrison McIntosh

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261

Harrison McIntosh (1914-2016)

A glazed stoneware footed bowl, mid-20th century Impressed with potter’s chop mark: HM With pale green glaze and sgraffito lines 5.125” H x 6” Dia. $1,000-2,000 Provenance: Private collection, through the family of Harrison McIntosh

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262

Harrison McIntosh (1914-2016)

A glazed stoneware vase, mid-20th century Impressed with potter’s chop mark: HM; applied paper label to the underside: Handthrown Stoneware / Harrison McIntosh / Claremont / California With pale green and cream glazes, and sgraffito lines 5.75” H x 3” Dia. $600-800 Provenance: Private collection, through the family of Harrison McIntosh

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263

Harrison McIntosh (1914-2016)

A glazed stoneware vase, mid-20th century Impressed with potter’s chop mark: HM; applied paper label to the underside: Handthrown Stoneware / Harrison McIntosh / Claremont / California With white glaze and sgraffito lines 6.625” H x 4.375” Dia. $800-1,200 Provenance: Private collection, through the family of Harrison McIntosh

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264

Harrison McIntosh (1914-2016)

A glazed stoneware bowl, mid-20th century Impressed with potter’s chop mark: HM; applied paper label to the underside: Handthrown Stoneware / Harrison McIntosh / Claremont / California With cream and grey glazes, and brush spots 4” H x 8” Dia. $1,500-2,000 Provenance: Private collection, through the family of Harrison McIntosh

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265

Harrison McIntosh (1914-2016)

A glazed stoneware vase, mid-20th century Impressed with potter’s chop mark: HM; applied paper label to the underside: Handthrown Stoneware / Harrison McIntosh / Claremont / California With black and cream glazes, and brush spots 4.875” H x 4.25” Dia. $500-700 Provenance: Private collection, through the family of Harrison McIntosh

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266

Harrison McIntosh (1914-2016)

A glazed stoneware footed bowl, mid-20th century Impressed with potter’s chop mark: HM; applied paper label to the underside: Handthrown Stoneware / Harrison McIntosh / Claremont / California With black and cream glazes 3.375” H x 5.75” Dia. $600-800 Provenance: Private collection, through the family of Harrison McIntosh

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267

Harrison McIntosh (1914-2016)

Two glazed stoneware vessels, mid-20th century Each impressed with potter’s chop mark: HM; applied paper label to the underside: Handthrown Stoneware / Harrison McIntosh / Claremont / California Each with cerulean blue glaze, comprising a footed bowl and a plate with sgraffito lines to well interior 2 pieces Bowl: 2.875” H x 5.5” Dia.; Plate: 1” H x 8” Dia. $600-800 Provenance: Private collection, through the family of Harrison McIntosh

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268

Harrison McIntosh (1914-2016)

Three glazed stoneware vessels, mid-20th century Vase incised: MCINTOSH 594; larger bowl incised: MCINTOSH 616 Each with brown and thickly applied pale green glazes, comprising two footed bowls and a vase 3 pieces Vase: 8.625” H x 3.5” Dia.; Larger bowl: 2.5” H x 5.5” Dia.; Smaller bowl: 1.375” H x 3.625” Dia. $1,000-1,500 Provenance: Private collection, through the family of Harrison McIntosh

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269

Harrison McIntosh (1914-2016)

Two glazed stoneware vessels, mid-20th century Each impressed with potter’s chop mark: HM; one with applied paper label to the underside: Handthrown Stoneware / Harrison McIntosh / Claremont / California Each with black glaze, comprising one with carved lines and another with mishima ovals 2 pieces Taller: 3” H x 2.875” W x 2.625” D; Shorter: 2.875” H x 2.875” Dia. $500-700 Provenance: Private collection, through the family of Harrison McIntosh

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270

Harrison McIntosh (1914-2016)

Two glazed stoneware low bowls, mid-20th century Smaller impressed with potter’s chop mark: HM; applied paper label to the underside: Handthrown Stoneware / Harrison McIntosh / Claremont / California; larger incised: McIntosh [script] Each with ivory glaze, one with sgraffito lines to well interior 2 pieces Larger: 2” H x 6” Dia.; Smaller: 1.375” H x 5.125” Dia. $500-700 Provenance: Private collection, through the family of Harrison McIntosh

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271

Harrison McIntosh (1914-2016)

A glazed stoneware bowl, mid-20th century Incised: MCINTOSH / 622 With glossy blue glaze 4” H x 8.875” Dia. $600-800 Provenance: Private collection, through the family of Harrison McIntosh

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272

Harrison McIntosh (1914-2016)

Two glazed stoneware bowls, mid-20th century Larger incised: HARRISON MCINTOSH / 182; smaller incised: HM [within a square] Each with glossy blue glaze 2 pieces Larger: 1.375” H x 3.75” Dia.; Smaller: 1.5” H x 3” Dia. $300-400 Provenance: Private collection, through the family of Harrison McIntosh

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273

Louis Bassi Siegriest

(1899-1989) “Mexican Church,” 1970 Oil and sand on panel Signed, dated, and titled verso: Siegriest / 70 17.75” H x 15.25” W $500-700

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274

Jean Dréville

(1906-1997) “Sol y Sombra,” 1927 Gelatin silver print on paper Signed and dated in white ink lower right: Jean Dréville. 1927; titled and indistinctly inscribed in French, all in pencil on an old backing board affixed to the frame’s backing paper; titled and dated again on a typed label affixed to the frame’s backing paper Sight: 9.125” H x 6.75” W $800-1,200 Provenance: Private collection, Beverly Hills, CA

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275

Berenice Abbott

(1898-1991) “Gasoline Station, Tremont Avenue and Dock Street, Bronx,” circa 1937, from “New York Portfolio III” Gelatin silver print on paper, dry mounted to a mat board support, as issued Edition: 58/60, printed circa 1979 Signed and numbered in pencil on the mount: Berenice Abbott; Parasol Press, Ltd., New York, NY, pub., with their black ink stamp on the verso of the mat board support Image/Sheet: 19.5” H x 15.5” W; Mat board support: 24.125” H x 19.625” W $1,500-2,500 Provenance: Private collection, Beverly Hills, CA

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276

Berenice Abbott

(1898-1991) “August Pingpank Barber Shop,” circa 1936, from “New York Portfolio IV” Gelatin silver print on paper, dry mounted to a mat board support, as issued Edition: 58/60, printed circa 1979 Signed and numbered in pencil on the mount: Berenice Abbott; Parasol Press, Ltd., New York, NY, pub., with their black ink stamp on the verso of the mat board support Image/Sheet: 19.25” H x 15.25” W; Sight of mat board support: 21.5” x 17” W $800-1,200 Provenance: Private collection, Beverly Hills, CA

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277

Jerry N. Uelsmann

(1934-2022) “Untitled,” 1976 Photograph on paper From the edition of unknown size Signed, titled, and dated in pencil and with the artist’s copyright stamp in black ink, all verso: Jerry N. Uelsmann / 1976; initialed and dated again on the overmat, lower right: J.N.U. 1976; signed, titled, and dated again in pencil on the verso of the back mat. Image: 13.75” H x 9.875” W; Sheet:14” H x 11” W $1,000-1,500 Provenance: Private collection, Beverly Hills, CA Notes: Alternatively titled “The Philosopher’s Desk,” by repute.

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278

Jerry N. Uelsmann

(1934-2022) Untitled, 2000 Photograph on paper Initialed and dated in pencil on the overmat lower right: J.N.U. 2000 Sight: 10.25” H x 12.5” W $800-1,200 Provenance: Private collection, Beverly Hills, CA

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279

Eric Orr

(1939-1998) “Oceans of Time,” 1991 Oil on canvas stretched over panel, surrounded by lead-wrapped wood, as issued With the incised signature (twice), and indistinct inscription, all on the lead overlap, verso: Orr; titled and dated from the certificate of authenticity; numbered verso: E091-34 Overall: 29” H x 24” W x 1.5” D $8,000-12,000 Provenance: The artist’s studio Private collection, acquired from above Notes: Accompanying this lot is the steel-bound book, “Zero Mass” (Propexus, Lund, Sweden, 320 p., 1990) by Eric Orr and James Lee Byers (1932-1997), signed and personally inscribed on the title page and dated on the last page: Thank you / Eric Orr / ‘91. A ball of fired clay by Byers entitled “The Sphere of Generosity” accompanies the steel-bound book, and both are housed together in their original Styrofoam and cardboard slipcase. This lot is accompanied by a sales invoice and certificate of authenticity from the artist’s studio, and a 1990 pamphlet from The Works Gallery, Long Beach, CA.

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280

Sam Francis

(1923-1994) Untitled, 1989 Oil on canvas Signed, inscribed, and dated verso: Sam Francis / 5-24-89 / To Joyce 9” H x 12” W $10,000-15,000 Provenance: The artist IKON, Ltd./Kay Richards, Bergamot Station, Santa Monica, CA Private Collection, Newport Beach, CA, acquired from the above, inscribed to the present owner

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281

Marc Katano

(b.1952) “Rose Smoke” Acrylic on paper Appears unsigned; titled from a gallery label affixed to the frame’s backing board 50.75” H x 39.5” W $500-700 Provenance: Stremmel Gallery, Reno, NV The Estate of Elaine Wynn

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282

Marc Katano

(b. 1952) “Amber” Acrylic on paper Appears unsigned; titled by repute Sheet: 55” H x 39” W $500-700 Provenance: Stremmel Gallery, Reno, NV The Estate of Elaine Wynn

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283

284

(b.1952) Floral abstraction Acrylic on Arches paper Appears unsigned 30.25” H x 22.75” W

(1936-2007) Untitled Oil on canvas Unsigned 76” H x 96” W

Marc Katano

$500-700 Provenance: The Estate of Elaine Wynn

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Edward Avedisian

$2,000-3,000

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285

Lucas Blok

(b. 1950) Untitled, 2011 Oil on canvas Signed and dated verso: Lucas Blok / 5/10/11 48.25” H x 30.25” W $800-1,200

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286

Roger Mühl

(1929-2008) “Pins” Oil on canvas Signed lower left: Mühl; titled on a gallery label affixed to the frame’s backing board 9.75” H x 9.75” W $800-1,200 Provenance: David Findlay Gallery, New York, NY

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287

Young-il Ahn

(1934-2020) Untitled Oil on canvas Signed lower left: Ahn Young-il 44” H x 53” W $8,000-12,000

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288

A pair of Brutalist style gilt metal panels

Mid/late 20th century Each unmarked Each gilt-metal abstract drip sculpture mounted to acrylic, set in a gold-toned metal frame with gallery light, electrified 2 pieces Each framed: 35.75” H x 18” W x 2.75” D; Each with light: 8.25” D $1,000-1,500 Provenance: The Estate of Elaine Wynn

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289

A folding campaign chair attributed to Maison Jansen

Circa 1960s The steel X-frame with brass paw feet and upper terminal knobs, with leather seat cushion, sling back, and armrests 36.75” H x 24.75” W x 34.75” D $500-700

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290

Tony Duquette

(1914-1999) Two works: Abstract portraits Oil and mixed media collage with 3D sculpted elements on panel Each signed lower right: Duquette 2 pieces Each: 8” H x 6” W $800-1,200 Notes: We are grateful to Hutton Wilkinson for authenticating these works.

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291

Miguel Ortiz Berrocal

(1933-2006) “Caballo Casinaide,” 1978-1979 Brass on nickel-plated steel base, articulated Edition: 640/2000 Signed and numbered on the base: Berrocal 14.5” H x 14” W x 7.125” D, dimensions variable $1,500-2,500 Literature: J. Gallego, “Antologica Berrocal (1955-1984)” (Madrid: Ministerio de Cultura, 1984), Opus 170, p. 457

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292

Aldo Tura (1909-1963)

A tall champagne ice bucket, circa 1960s With applied label to underside: TU milano italia With lacquered goatskin-clad wood body and brass liner, lid, and handle 15.875” H x 8.25” W x 8” D $200-400

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293

T. H. Robsjohn-Gibbings (1905-1976)

A chest of drawers for Widdicomb Furniture Co., mid-20th century Drawer interior with partially legible label: Widdicomb The six drawers each with cane-wrapped brass pull, raised on tapered brass feet 32.25” H x 68” W x 21.5” D $1,000-1,500 Provenance: Private collection, West Los Angeles, CA

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294

Paul McCobb (1917-1969)

An ‘Irwin Collection’ bar cart model C9203 for Calvin, 1950s Designed 1952 With metal label to drawer interior: CALVIN / GRAND RAPIDS / THE IRWIN COLLECTION / designed by / PAUL McCOBB The travertine top on a brass-plated steel frame, with mahogany drawers and pull-out shelf above a removeable tray and undertier, raised on casters 28.5” H x 36.5” W x 19.5” D $1,000-2,000 Provenance: Private collection, West Los Angeles, CA

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295

Edward Wormley (1907-1995)

A pair of nightstands model 5363 for Dunbar, mid-20th century Each drawer interior with metal tag: DUNBAR / BERNE INDIANA Each with enameled metal drawer pull and sabots 2 pieces Each: 25.25” H x 19” W x 17.5” D $1,000-1,500 Provenance: Private collection, West Los Angeles, CA

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296

Edward Wormley (1907-1995)

A pair of ‘Sophia’ slipper chairs model 5000A for Dunbar, mid-20th century Each with metal tag: DUNBAR / BERNE INDIANA Each mahogany frame upholstered in a black tufted cotton fabric 2 pieces Each: 32” H x 24” W x 33.75” D $800-1,200 Provenance: Private collection, West Los Angeles, CA

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297

Edward Wormley (1907-1995)

A trapezoidal end table model 4809 for Dunbar, mid-20th century With metal label: DUNBAR / BERNE INDIANA With glass top set in a wood frame with tapered legs 20” H x 22.25” W x 25.25” D $400-600 Provenance: Private collection, West Los Angeles, CA

299

A pair of Modern upholstered ottomans

Mid-20th century Each unmarked With original tufted upholstery and conforming throw pillow 3 pieces Each: 14.5” H x 29” W x 25.5” D $300-500 Provenance: Private collection, West Los Angeles, CA

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298

A William Earle pedestal dining table

Early 21st century Unmarked With round beveled glass top over a walnut veneer base Overall: 29.25” H x 66” Dia.; Base: 28.25” H x 32.5” W x 30.5” D $1,200-1,800

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300

Betty Cooke: A collection of Modernist sterling silver jewelry

Betty Cooke (1924-2024) Mid/late 20th century Six marked for maker; two marked for sterling Six works comprising a long narrow curved silver pendant (3” H), a small round enamel bird pendant (1” Dia.), a round openwork bird brooch (1” Dia.), two tie pins, one a bird motif, and one with enamel dots (each: 0.75” H), and a pair of cuff links with enamel bird motifs (0.75” Dia.) 7 pieces 40.5 grams gross $200-400

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301

A collection of Modernist silver jewelry including Ruth Berridge & Esther Lewittes Mid/late 20th century Nine works:

Ruth Berridge (1921-2004) A sterling silver ‘mobile’ choker necklace Stamped: Berridge / Sterling / Handmade With ten graduated trapezoid dangles suspended from a silver wire framework and graduated silver chains 14.5” L x 1.5” H Esther Lewittes (1904-1990) A sterling silver abstract sculptural pendant necklace Stamped: Lewittes / Sterling With a heavy openwork pendant of intersecting curvilinear and oval shapes suspended from a narrow snake chain 20” L x 2.5” H A group of Modernist silver jewelry Three marked for sterling Seven works comprising a chunky silver chain necklace suspending seven round disc long dangles (17” L x 3.5” H), a delicate necklace with a curvilinear form pendant (16” L), as well as a sterling silver openwork wire ‘Hourglass’ pendant with a pair of matching earrings (1.5” & 1.25” H), two modernist silver brooches, one a long curved brooch with silver dot inlay accents (0.5” H x 3.25” W), and one a small pointed oval with silver overlay (0.625” H x 1.75” W), and a pair of silver earrings with chunky tapered bar dangles (2.25” H), 9 pieces 11 pieces total 158.8 grams gross $200-400

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302

A Lalique glass ‘Three Jaguars’ vase

Late 20th/early 21st century Etched to underside: Lalique ® France / 929; with factory label 11.25” H x 8.25” Dia. $500-700 Provenance: The Estate of Elaine Wynn

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303

A JL Coquet silver plated partial flatware service Late 20th/early 21st century Each impressed with maker’s marks Each with gilt-metal handle Comprising: 11 dinner forks (8”) 11 salad forks (6.875”) 12 dinner knives (9.5”) 12 oval soup spoons (8”) 12 teaspoons (5.5”) 58 pieces $800-1,200 Provenance: The Estate of Elaine Wynn

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304

A Baccarat glass ‘Edith’ vase Late 20th century With etched factory mark 9.875” H x 6.5” Dia. $200-400 Provenance: The Estate of Elaine Wynn

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305

A Lalique glass ‘Ingrid’ vase

Late 20th century Designed 1964 by Marc Lalique (1900-1977) Etched to underside: Lalique ® France; numbered indistinctly 10.375” H x 9” Dia. $300-500 Provenance: The Estate of Elaine Wynn

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306

A Marc Blackwell porcelain ‘Palazzo’ dinner service Early 21st century Each with printed factory mark and pattern Comprising: 16 dinner plates (10.75”) 16 salad plates (8.125”) 12 demitasse cups (2.5” H) 12 saucers (4.875”) 2 serving bowls (10.375”) 2 oval serving platters (14.75” W x 10.875” D) 60 pieces $1,000-1,500 Provenance: The Estate of Elaine Wynn

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307

A Marc Blackwell porcelain ‘Florentine’ dinner service Early 21st century Each with printed factory mark and pattern Comprising: 16 dinner plates (12”) 16 wide rim soup bowls (9.25”) 16 footed cream soup bowls (3.625” H) 2 serving bowls (10.25”) 2 oval serving platters (14.75” W x 10.875” D) 52 pieces $700-900

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308

A Contemporary assembled parcel gilt porcelain tea service Late 20th century Each with printed factory marks Comprising: Marc Blackwell ‘Florentine’: 16 teacups (2.375” H) 16 saucers (6.25”) 2 sugars (4.25” H) 2 creamers (3” H) 4 pairs of leaf-form dishes (largest: 5” W x 4.125” D) Objet ‘Agean’: 2 teapots (7.75” H x 10.375” W x 5.375” D) together with 1 gold overpainted footed bowl (5.125”) 47 pieces $600-800 Provenance: The Estate of Elaine Wynn

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309

A Paul Hathcoat iridescent glass partial dining service

Late 20th century Plates and bowls with etched initials and date to underside: PH 94; cups with etched signature and date: Esteban Prieto / 1985 Comprising: 11 dinner plates (11.625”) 11 salad plates (9.5”) 12 bread & butter plates (6.5”) 12 soup bowls (8.375”) 12 fruit/dessert bowls (6.75”) together with 6 Esteban Prieto cups (3.75” H) 64 pieces $300-500 Provenance: The Estate of Elaine Wynn

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310

A pair of Modern bone encrusted table lamps

Late 20th century Each single-light lamp with a metal stand mounted with carved bone beads and small shapes, as well as hardstone accents, surmounted by a silk fabric shade with braided rope trim, electrified 2 pieces Each lamp without harp: 23.5” H x 8.375” Dia.; Each shade: 9.25” H x 16.75” Dia. $400-600 Provenance: The Estate of Elaine Wynn

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311

A Mattaliano ‘Vellum Column’ table lamp

Early 21st century Applied metal tag printed: Mattaliano / Chicago, Illinois The two-light lamp with vellum-clad standard, surmounted by a fabric shade, electrified Lamp: 27.5” H x 8” Dia.; Shade: 11.5” H x 18” Dia. $300-500 Provenance: The Estate of Elaine Wynn

312

A Modern amorphic polished brass vase Mid-20th-early 21st century Unmarked 13” H x 14” W x 3.75” D $200-400 Provenance: The Estate of Elaine Wynn

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313

A Gregorius Pineo ‘Calloway’ floor mirror

Early 21st century The rectangular plate within a textured patinated metal frame 102” H x 42” W x 2.25” D $1,000-2,000 Provenance: The Estate of Elaine Wynn

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314

A Gregorius Pineo ‘Calloway’ floor mirror

Early 21st century The rectangular plate within a textured patinated metal frame 102” H x 42” W x 2.25” D $1,000-2,000 Provenance: The Estate of Elaine Wynn

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315

A Holisart Contemporary brass panel Late 20th/early 21st century Unmarked Framed: 74.25” H x 26.25” W x 2.5” D $600-800 Provenance: The artist Private collection, Brentwood, CA By family descent

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316

A Holisart Contemporary brass panel Late 20th/early 21st century Unmarked Framed: 61.25” H x 25.25” W x 1.625” D $600-800 Provenance: The artist Private collection, Brentwood, CA By family descent

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317

A “Gaia” Ultimate Collection photo book

2011 Laliberté,, Guy (curator). “Gaia.” New York: Assouline, 2011 Hardcover folio in clamshell case Edition: 53/1000 Numbered to first free endpaper verso; with gift inscription to title page Featuring photographs of earth taken by Guy Laliberté (b. 1959), founder of Cirque du Soleil, during a 2009 mission aboard the International Space Station Clamshell: 26” H x 18.5” W x 2.875” D $300-500 Provenance: The Estate of Elaine Wynn

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318

Five pyrite specimen spheres

20th century Each fool’s gold nugget set into a concrete matrix 5 pieces Largest: 5.375” Dia.; Smallest: 4” Dia. $400-600 Provenance: The Estate of Elaine Wynn

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319

A Modern polygonal cast stone and metal sundial Mid/late 20th century Unmarked With incised trimming 16.5” H x 16.75” W x 11.75” D $400-600 Provenance: The Estate of Elaine Wynn

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320

A Contemporary fossilized stone clad box

Late 20th century With applied label: Made in the Philippines for ARTISAN IMPORTS LTD; gift inscription to metal plaque applied to lid interior: Thanks to / STEVE WYNN / for making the 1988 / Reno Communications / Luncheon a success. With wood interior 3.25” H x 7.25” W x 5.625” D $200-300 Provenance: The Estate of Elaine Wynn

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321

A Contemporary velvet lined jewelry box inscribed with invitation

Early 21st century Marked to underside: Pottery Barn Inscribed: Please join us in a penthouse garden / for an intimate evening with / Elaine / on her birthday / Saturday, April 28, 2012 / 7:30 pm / Soho House / 9200 Sunset Boulevard / West Hollywood / Given with love, / Kevyn and Gillian / Romantic Chic Attire- / Men no ties necessary The nickel silver case with various inner velvet-lined compartments 3.25” H x 10.5” W x 7.25” D $100-200 Provenance: The Estate of Elaine Wynn

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322

A Porta Romana blown glass ‘Gourd’ table lamp

Circa 2010 Marked in the light socket casting: PR; with label applied to shade: PORTA ROMANA The single-light lamp with acrylic base and fabric shade, electrified Lamp: 26” H x 7” Dia.; Shade: 11” H x 15” W x 8.5” D $300-500 Provenance: The Estate of Elaine Wynn

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Yrjö Edelmann (1941-2016)

Finnish artist Yrjö Edelmann is recognize representation and illusion. Best known and folded cardboard, Edelmann transf

Working in a meticulous photorealist sty remarkable precision, frequently promp compositions focus closely on these eve creases, and nuanced surface variations and remains a distinctive contribution to

ed for his strikingly realistic paintings that blur the line between n for his meticulous depictions of crumpled paper, wrapped packages, formed ordinary materials into subjects of quiet visual intrigue.

yle, Edelmann rendered texture, shadow, and surface detail with pting viewers to question what is real and what is painted. His eryday materials, filling the picture plane with carefully observed folds, s. Edelmann’s work is held in major Scandinavian museum collections o late 20th-century realism.

323

Yrjö Edelmann

(1941-2016) Black paper, 1980 Oil on canvas Signed and dated lower right: Y. Edelmann -80; part of a title, possibly “Packed[?] Night....,” showing on a partially preserved gallery label affixed to the stretcher 39.5” H x 39.5” W $10,000-15,000 Provenance: Lillian Heidenberg Gallery, New York, NY Property from the Anni & Arthur Lipper III Collection, Del Mar, CA, from the above

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324

Susan Moss

(b. 1944) “Earth Peace,” from the “Peace Pieces Series,” 2005 Oil on canvas Signed, titled, and dated in red pigment, verso: Susan Moss / 2005 82” H x 84” W $2,000-3,000 Provenance: The artist

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325

Susan Moss

(b. 1944) “Peace Bridge,” 2010-21 Oil on canvas Signed, titled, and dated in green pigment, verso: Susan Moss / 2010; further dated “...-2016-2021” in pencil, beside the earlier date in green pigment, verso 31.25” H x 31” W $800-1,200 Provenance: The artist

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326

David Shrigley

(b. 1968) “It’s Ok Not To Like It,” 2022 Screenprint in colors with varnish overlay on wove paper Edition: 16/125 Initialed, dated, and numbered in pencil on the verso of the lower sheet corners: DS 2022; Galleri Nicolai Wallner, Copenhagen, pub. Image/Sheet: 30” H x 22.125” W $2,000-3,000

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327

David Shrigley

(b. 1968) “I Cannot Live Without You,” 2019 Screenprint in colors with varnish overlay on wove paper Edition: 90/125 (there were also 12 artist’s proofs) Initialed, dated, and numbered in pencil along the lower edge, verso: DS 2019; Jealous Gallery, London, England, pub. Image/Sheet: 29.5” H x 21.625” W $2,000-3,000

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328

David Shrigley

(b. 1968) “I’m Special,” 2017 Linocut in colors on paper Edition: 74/100 Initialed, dated, and numbered in pencil, in the lower corners: DS 2017; Schafer Grafik, Copenhagen, Denmark, pub. Image/Sheet: 29.625” H x 21.875” W $2,000-3,000 Provenance: Craven Contemporary, Kent, CT

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329

David Shrigley

(b. 1968) “Be Nice,” 2017 Screenprint in colors on wove paper Edition: 105/125 (there were also 20 artist’s proofs) Signed with initials, dated, and numbered in pencil in the lower sheet corners: DS 2017; K2 Screen, London, England, prntr.; Counter Editions, London, England, pub. Image/Sheet: 30” H x 22” W $1,000-1,500

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330

Virginie Schroeder

(b. 1976) “The M and M’s Love Explosion” Acrylic and glitter on canvas Signed lower right: Virginie Schroeder; signed again and titled “The N[sic] and N’s[sic] Love Explosion” on the canvas overlap 20” H x 20” W $1,000-1,500

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331

Joanne Tinker

(b. 1969) “Goblets XXIX” Chocolate and sweet aluminum foils, adhesive, and wood Signed and titled verso: Joanne Tinker 34” H x 34” W $700-900 Provenance: Wychwood Art Gallery, Deddington, UK Notes: This unique wall sculpture reflects the artist Joanne Tinker’s interest in recycling and transforming existing mundane material objects into something unique and special. Chocolate foil wrappers are a particular focus in Tinker’s work. The artist has said of this subject: “The use of chocolate foil wrappings remains a constant in my work - not because of my love of chocolate - but rather my wholehearted appreciation of the material’s colour (sic), texture, delicacy and strength. Simply, I unwrap one form and recreate another.” Tinker’s work has been shown at London’s Royal Academy Summer Exhibition and is in the collection of the New York Museum of Art & Design and The White Rabbit Gallery, Sydney. w w w. j o h n m o r a n . c o m 4 6 7

332 Alben

(b. 1973) Suitcase with candy Resin and found objects Printed with artist’s cipher: ALBEN 23” H x 17.5” W x 8” D $1,000-1,500

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333

Howard Finster

(1916-2001) Mr. Coke #12,592, 1991 Paint and marker on cut-out panel Signed and extensively inscribed, recto: Howard Finster; signed, dated, inscribed, and with the artist’s device, verso: Howard Finster / 1992 / “12.000.592 - works since 1976 / by Howard Finster / Mar. 1. 1991. 1:02: / Past Midnight / God Bless You All” 34” H x 10.25” W (irreg.) $800-1,200

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334

Oli Epp

(b. 1994) “Carpe Diem,” 2018 Screenprint in colors on Somerset wove paper Edition: A printer’s proof aside from the edition of 30 Signed and inscribed “P.P.” in pencil in the lower margin: O. Epp; titled on a certificate of authenticity attached to the frame’s backing paper; Jealous Gallery, London, England, prntr. and pub. Image: 23.75” H x 18.25” W; Sight: 26.75” H x 21.375” W $800-1,200 Notes: A certificate of authenticity issued and signed by the printer/publisher accompanies this lot.

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335

Tracey Emin

(b. 1963) “True Love Always Wins,” 2016 Lithograph in colors on wove paper Edition: 134/300 Signed, dated, and numbered in pencil along the lower edge: Tracy Emin 2016 Image/Sheet: 30” H x 23.75” W $2,000-3,000

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336

David Shrigley

(b. 1968) “Distractions,” 2022 Linocut in colors on paper Edition: 52/100 Initialed, dated, and numbered in pencil along the lower edge: DS 2022; Schafer Grafik, Copenhagen, Denmark, pub. Image: 19.625” H x 14.5” W; Sheet: 20.675” H x 15.125” W $1,000-1,500

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337

David Shrigley

(b. 1968) “The World,” 2020 Screenprint in colors with varnish overlay on wove paper Edition: 65/125 Signed and numbered, verso, according to a gallery label affixed to the frame’s backing board; Galerie Nicholai Wallner, Copenhagen, Denmark, pub. Sheet: 30” H x 22” W $2,000-3,000 Provenance: Raw Editions Gallery, London, England

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338

A vintage sleeveless ‘Graffiti Series’ top, attributed to Stephen Sprouse

Stephen Sprouse (1953-2004) Circa 1988 Lacking maker label; with care and size label to interior A printed knit pullover tank top with scoop back featuring multicolored punk graffiti-style lettering and designs, on a yellow field, all covered with clear sequins, and fully lined to interior Length: 22”; bust front: 16”; waist front: 13.5”; hem circumference: 32” $400-600 Notes: A similar item found in the collection of the Metropolitan Museum of Art, New York, NY; Object Number: 2009.81.

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339

Shepard Fairey

(b. 1970) “Earth Crisis” globe Screen-printed and brushed steel Columbus globe Edition: 18/250 Signature cast into base, with impressed edition; box marked with labels near base: Galerie Itinerrance / [artist’s logo] With original packaging, accompanied by original box designed by the artist Globe: 17.25” H x 16.5” W x 16” D; Box: 20” H x 18.5” Dia. $2,500-3,500 Provenance: The Artist Selections from The Elliot Roberts Estate, acquired from the above Notes: “With almost 16 inch in diameter, this limited edition of the Earth Crisis globe represents the designs of the huge globe that was installed in the heart of the Eiffel Tower last November, during the COP21 (2015). Produced by Columbus, the oldest company manufacturing high end luxury globes in the world, the designs are put in by hand and it is maintained by a stainless brushed steel base. The globe is sold with its unique indigo box also designed by Shepard Fairey. This box is also a stand that can be used to display the globe.” -Galerie Itinerrance w w w. j o h n m o r a n . c o m 4 7 5

340

Shepard Fairey

(b. 1970) “We The Future” triptych, 2018 The set of three screenprints in colors on speckled cream paper Edition of each: 340/450 Each signed, dated, and numbered in pencil in the lower margin corners: Shepard Fairey 18; the male image additionally signed in pencil in the lower margin by Aaron Huey; Obey Giant, Los Angeles, CA, pub., with the logo printed within the lower section of each image Image of each: 23” H x 16.75” W; Sheet of each: 24” H x 18” W $800-1,200 Provenance: Private collection, Washington, D.C. Notes: According to Bianca Silva’s article, “The Story Behind Shepard Fairey’s Inauguration Protest Posters,” for Time magazine as quoted in Wikipedia, Aaron Huey (b. 1975) is a photographer, explorer, and activist who, among other projects, started the “Amplifier Foundation,” a design lab that builds art to amplify the voices of grassroots movements. He was also the architect and design director for the non-profit art project “We The People,” that flooded the streets of Donald Trump’s Inauguration and the International Women’s March in 2017.

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341

Shepard Fairey

(b. 1970) Mandala wood table, 2009 Mixed media, wood, and glass Signed and dated: Shepard Fairey 09; fabricated and further signed by Chris Aultman and Derric Swinfard 23.625” H x 44.75” Dia. $4,000-6,000 Provenance: Sold: Santa Monica, CA, Santa Monica Auctions, “Sea No Evil” art show benefiting the Sea Shepherd Conservation Society (SSCS), November 2010 Selections from The Elliot Roberts Estate, acquired from the above

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342

Mr. Brainwash

(b. 1966) “Torn Spray Can,” 2020 Mixed media and paper collage on paper Edition: 1/1 Signed in ink in the lower left quadrant, along the left edge of the spray can: Mr. Brainwash; signed again and with the artist’s device, dated “2020-,” and numbered, all in crayon, and with the artist’s red ink thumbprint, all verso; titled from the artist’s certificate of authenticity affixed to the frame’s backing board Image/Sheet: 30.25” H x 22.5” W $1,500-2,500 Provenance: Gol Art Gallery & Publishing, Las Vegas, NV Notes: This lot is accompanied by a “Letter of Authenticity” issued by the gallery / publishing house mentioned above. 4 8 0 A r t + D e s i g n l Tu e s d a y, Marc h 2 4 , 2 0 2 6

343

Mr. Brainwash

(b. 1966) Two spray paint cans after Banksy, 2020 Editions: 117/150 and 87/125 Each signed, titled, dated, and numbered: Brainwash; each printed: 2019 © & TM AMUSEMENT ART LLC; each printed to underside: LIFE IS BEAUTIFUL Each housed in original display box 2 pieces Each can: 7.5” H x 2.625” Dia.; Each box: 3.375” H x 9” W x 4.25” D $300-500 Provenance: Gol Art Gallery & Publishing, Las Vegas, NV Notes: This lot is accompanied by two Certificates of Authenticity, each issued by Gol Art Gallery and Publishing, Las Vegas, NV, dated September 27, 2023 and October 13, 2023, reference #14485 and #14424.

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344

Mr. Brainwash

(b. 1966) “Tomato Pop (Yellow),” 2023 Screenprint in colors on wove paper Edition: 65/95 Signed in pencil in the lower right quadrant, along the right edge of the soup can: Mr. Brainwash; numbered in pencil in the lower margin; dated “2023-” in pencil and with the artist’s red ink thumbprint, all verso; titled in the image and from the artist’s certificate of authenticity attached to the frame’s backing board Image: 27.375” H x 19.5” W; Sheet: 30” H x 22.5” W $1,000-1,500

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345

Mr. Brainwash

(b. 1966) “Everyday Life,” 2021 Screenprint in colors with mixed media including acrylic and spray paint on paper Signed lower right: Mr. Brainwash; signed again and with the artist’s device, dated “2021-,” numbered “No.A74941954J,” all in crayon, and with the artist’s red ink thumbprint, all verso; titled from the artist’s certificate of authenticity affixed to the frame’s backing board Sheet: 22.125” H x 22.5” W $3,000-5,000

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346

Mr. Brainwash

(b. 1966) Two spray paint cans after Banksy, 2020 Editions: 117/150 and 41/200 Each signed, dated, titled, and numbered: Mr. Brainwash; one numbered to artist’s label: 295514; and printed: 2019 © & TM Amusement Art LLC; the other numbered: 51960; and printed: Illustration(s) SEPS © Licensed by Curtis Licensing’ each printed to underside: LIFE IS BEAUTIFUL Each housed in original display box 2 pieces Each can: 7.5” H x 2.625” Dia.; Each box: 3.375” H x 9” W x 4.25” D $300-500 Provenance: Gol Art Gallery & Publishing, Las Vegas, NV Notes: This lot is accompanied by two Certificates of Authenticity, each issued by Gol Art Gallery and Publishing, Las Vegas, NV, dated August 22, 2023 and August 5, 2023, reference #14415 and #14469.

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347

Mr. Brainwash

(b. 1966) Two spray paint cans after Banksy, 2020 Editions: 116/150 and 39/150 Each signed, dated, titled, and numbered: Mr. Brainwash; one numbered to artist’s label: 297523; and printed: 2019 © & TM Amusement Art LLC; the other numbered: 297488; and printed: Illustration(s) SEPS © Licensed by Curtis Licensing; each printed to underside: LIFE IS BEAUTIFUL Each housed in original display box 2 pieces Each can: 7.5” H x 2.625” Dia.; Each box: 3.375” H x 9” W x 4.25” D $300-500 Provenance: Gol Art Gallery & Publishing, Las Vegas, NV Notes: This lot is accompanied by two Certificates of Authenticity, each issued by Gol Art Gallery and Publishing, Las Vegas, NV, dated August 10, 2023 and August 5, 2023, reference #14411 and #14407.

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348

Mr. Brainwash

(b. 1966) “Special Delivery,” 2022 Mixed media on paper Edition: 1/1 Signed in ink along the right edge: Mr. Brainwash; signed again and with the artist’s device, dated “2022-,” and numbered, all in crayon, and with the artist’s red ink thumbprint, all verso; titled from the artist’s certificate of authenticity attached to the frame’s backing board Image/Sheet: 22.5” H x 30.25” W $1,000-1,500 Provenance: Gol Art Gallery & Publishing, Las Vegas, NV

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349

Banksy

(b. 1974) “GDP Flower Thrower,” 2019 Screenprint on thin wove paper From the edition of unknown size Unsigned; produced by the artist to be exhibited and distributed from his homewares store, called Gross Domestic Product, which he opened in the Croydon section of London, England, in 2019. Image: 23” H x 20” W (approx.); Sheet: 30” H x 22.5” W $800-1,200 Provenance: Sold: Chiswick Auctions, London, England, February 13, 2024, Lot 323 Notes: According to information available online, an unknown, limited number of impressions of this screenprint were randomly given to young visitors (purportedly 16 years or under) who visited the Gross Domestic Product store’s “window shopping only” exhibition in 2019. w w w. j o h n m o r a n . c o m 4 8 7

350

Takashi Murakami

(b. 1962) “A Little Flower Painting: Yellow, White and Purple Flowers,” 2018 Offset lithograph in colors on paper Edition: 96/300 Signed indistinctly and numbered in the lower right corner of the image Sight: 21” H x 17” W $800-1,200 Provenance: Gol Art Gallery and Publishing, Las Vegas, NV Notes: This lot is accompanied by a Certificate of Authenticity, dated October 12, 2023, issued by the art gallery / publishing house mentioned above.

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351

Takashi Murakami

(b. 1962) “Friendship Forever,” 2021 Offset lithograph in colors on paper Edition 222/300 Signed, numbered, and inscribed indistinctly in silver ink along the lower edge of the image Sight: 19.25” H x 19.25” W $800-1,200 Provenance: Gol Art Gallery and Publishing, Las Vegas, NV Notes: This lot is accompanied by a Certificate of Authenticity issued by art gallery / publishing house mentioned above, dated October 12, 2023.

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352 KAWS

(b. 1974) Untitled, one plate from the “Urge” portfolio, 2020 Screenprint in colors on wove paper Edition: 40/250 (there were also 50 artist’s proofs, signed, dated, numbered and inscribed in pencil) Signed, dated, and numbered in pencil in the lower margin: KAWS..20; the artist, New York, NY, pub. Image: 11.25” H x 8.625” W; Sheet: 17” H x 12.75” W $1,000-1,500

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353 KAWS

(b. 1974) Untitled, one plate from the “Urge” portfolio, 2020 Screenprint in colors on wove paper Edition: AP 43/50 (there were also 250 signed, dated, and numbered in pencil) Signed, dated, numbered and inscribed in pencil in the lower margin: KAWS..20; the artist, New York, NY, pub. Image: 11.25” H x 8.625” W; Sheet: 17” H x 12.75” W $1,000-1,500

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354 KAWS

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355 KAWS

(b. 1974) Untitled, one plate from the “Urge” portfolio, 2020 Screenprint in colors on wove paper Edition: 116/250 (there were also 50 artist’s proofs, signed, dated, numbered and inscribed in pencil) Signed, dated, and numbered in pencil in the lower margin: KAWS..20; the artist, New York, NY, pub. Image: 11.25” H x 8.625” W; Sheet: 17” H x 12.75” W $1,000-1,500

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356

Rick (CHROMA) Wolfryd

(b. 1953) Seated KAWS Photopolymer resin and beads Signed to underside: ELIZA / Rick Wolfryd; inscribed: T.P. / .0017; further inscribed illegibly 15” H x 10.5” W x 8” D $600-900

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357

Rick (CHROMA) Wolfryd

(b. 1953) After Pedro Friedeberg “Hot Seat: Magic Hands Series,” 2022 Photopolymer resin and beads Edition: AP Signed, dated, titled, and inscribed to underside: CHROMA aka Rick Wolfryd / ARTIST’S PROOF / INSPIRED BY GREAT ARTIST PEDRO FRIEDEBERG / +CHROMA DREAMS! 32.25” H x 23.25” W x 28” D $3,000-4,000

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358

Tom Everhart

(b.1952) “To Remember” Lithograph in colors on wove paper Edition: 36/750 Signed in black ink, lower right: Everhart; numbered in pencil, lower left; with an unidentified blindstamp to the right of the pencil numbering Image/Sheet: 30” H x 22.5” W $800-1,200

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359

Tom Everhart

(b.1952) “Bora Bora Boogie Bored” Lithograph in colors on paper Edition: 342/500 Signed and numbered in the lower margin: Everhart Image: 23” H x 31.25” W; Sheet: 28.25” H x 35.25” W $800-1,200 Provenance: Gol Art Gallery and Publishing, Las Vegas, NV Notes: This lot is accompanied by a Certificate of Authenticity issued by Gol Art Gallery and Publishing, dated October 12, 2023.

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360

Shepard Fairey

(b. 1970) “Party at the Moontower” LP Box Set, 2011 The complete set of 36 screenprints on cream Speckletone paper Edition: 19/150 Each of the 36 screenprints signed, dated, and numbered in pencil in the lower margin: Shepard Fairey 11; together with the signed, dated, and numbered certificate of authenticity/ title/colophon page, the CD in the faux vinyl record sleeve, the stencil, and the sheet of nine stickers; all loose; all housed within the original black paper-covered portfolio-box with the edition number and the gold embossed design and lettering; Obey Giant, Los Angeles, CA, pub. Image of each screenprint: 11.25” H x 11.25” W; Sheet of each screenprint: 12” H x 12” W $1,200-1,800 Provenance: Selections from The Elliot Roberts Estate

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361

Shepard Fairey

(b. 1970) “Dance Floor Riot” LP Box Set, 2011 The complete set of 36 screenprints on cream Speckletone paper Edition: 19/150 Each of the 36 screenprints signed, dated, and numbered in pencil in the lower margin: Shepard Fairey 11; together with the signed, dated, and numbered certificate of authenticity/ title/colophon page, the CD in the faux vinyl record sleeve, the stencil, and the sheet of nine stickers; all loose; all housed within the original black paper-covered portfolio-box with the edition number and the gold embossed design and lettering; Obey Giant, Los Angeles, CA, pub. Image of each screenprint: 11.25” H x 11.25” W; Sheet of each screenprint: 12” H x 12” W $1,200-1,800 Provenance: Selections from The Elliot Roberts Estate

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362

Shepard Fairey

(b. 1970) “Sound & Vision Obey: 50 Shades of Black” LP Box Set, 2014 The complete set of 50 screenprints on cream Speckletone paper Edition: 119/200 Each of the 50 screenprints signed, dated, and numbered in pencil in the lower margin: Shepard Fairey 13; together with the signed, dated, and numbered certificate of authenticity/ title/colophon page, the stencil, and the sheet of nine stickers; all loose; all housed within the original black paper-covered portfolio-box with the edition number and the gold embossed design and lettering; Obey Giant, Los Angeles, CA, pub. Image of each screenprint: 11.25” H x 11.25” W; Sheet of each screenprint: 12” H x 12” W $1,200-1,800 Provenance: Selections from The Elliot Roberts Estate Notes: Unlike the previous two lots, this lot does not include a CD. 5 0 0 A r t + D e s i g n l Tu e s d a y, Marc h 2 4 , 2 0 2 6

363

Shepard Fairey

(b. 1970) “Americana” portfolio, 2012 The complete set of 13 screenprints in colors on beige Speckletone paper Edition 8/200 (there were also 250 impressions of the screenprints aside from the 200 boxed sets) Each screenprint signed and numbered in pencil in the lower margin: Sheppard Fairey 12; plates 1-12 each numbered 8/450; plate 13 (“Americana Lyrics”) numbered 8/200; together with the signed, dated, and numbered certificate of authenticity/title/ colophon page, plus the Neil Young/Crazy Horse “Americana” CD in the original CD sleeve, and the separate CD lyrics booklet; all contents loose, still secured within the original black paper wrapper-band with printed title; housed in the original black paper-covered portfoliobox with printed title and numbering, signed and dated in gold pen along the lower edge of the front cover; Obey Giant Art, Los Angeles, CA, prntr./pub. Image of each screenprint: 22.5” H x 16.375” W; Sheet of each screenprint: 24.125” H x 17.875” W $1,000-1,500 Provenance: Selections from The Elliot Roberts Estate w w w. j o h n m o r a n . c o m 5 0 1

364

E. M. Zax (20th Century)

A polymorph composition, early 21st century Pigmented paper in acrylic case Edition: 1/25 Signed and numbered to right side: ZAX Overall: 16.5” H x 22” W x 4” D $800-1,200

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365

After Keith Haring (1958-1990)

A skateboard deck tetraptych after “Man and Medusa” by The Skateroom, 2018 Each top printed: THE SKATEROOM / Art for Social Impact / X / [Keith Haring signature] Screen-printed skateboards 4 pieces Each: 31.75” L x 8” W $400-600 Notes: Produced under license from Keith Haring Foundation, licensed by Artestar, New York.

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366

Rick (CHROMA) Wolfryd

(b. 1953) “R2D2,” 2025 Photopolymer resin and beads Edition: AP Signed, dated, titled, and inscribed to underside: Chroma aka Rick Wolfryd / [illustrated rebus] 16” H x 11.5” W x 12” D $600-900 Notes: This lot is accompanied by a signed Certificate of Authenticity from the artist’s studio.

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367

Rick (CHROMA) Wolfryd

(b. 1953) “Storm Trooper Helmet,” 2025 Photopolymer resin and beads Edition: AP Signed, dated, titled, and inscribed to underside: Chroma aka Rick Wolfryd / [illustrated rebus] 12” H x 12” W x 11.5” D $600-900 Notes: This lot is accompanied by a signed Certificate of Authenticity from the artist’s studio.

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368

After Andy Warhol (1928-1987)

Six skateboard decks with Campbell’s soup can prints by The Skateroom, circa 2020 Each from the edition of 5,000 Each top printed: THE SKATEROOM / Art for Social Impact / X / [photo print of Warhol with signature] Screen-printed skateboards 6 pieces Each: 31.75” L x 8” W $700-900 Notes: Produced under license from The Andy Warhol Foundation for the Visual Arts, Inc.

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369

After Andy Warhol (1928-1987)

A skateboard deck hexaptych after “Flowers” by The Skateroom, 2017 Edition: 161/500 Each top printed: THE SKATEROOM / X / [photo print of Warhol with signature] Screen-printed skateboards 6 pieces Each: 31.75” L x 8” W $700-900 Notes: This lot is accompanied by a Certificate of Authenticity from The Skateroom, dated March 6, 2017. Produced under license from The Andy Warhol Foundation for the Visual Arts, Inc.

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370

A Gibson J-45 Deluxe acoustic guitar

1967 Headstock impressed: 896930; marked: Gisbon; and with applied plastic tag: J-45 With Indian rosewood back and fingerboard, housed in original hard-shell case Guitar: 41.5” H x 16” W x 5.375” D; Case: 44.5” H x 18.25” W x 6.25” D $3,000-5,000 This lot may require a CITES permit if being shipped outside California. Please contact your preferred shipping company for information.

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371

A Martin M-36 acoustic guitar

Circa 1979 Impressed to interior: M-36 / 414240; headstock marked: Martin & Co. / EST. 1833 With Indian rosewood back and sides, housed in a hardcase Guitar: 41.25” H x 16.25” W x 5.5” D; Hardcase: 46 H x 18.25” W x 7.25” D $1,000-2,000 This lot may require a CITES permit if being shipped outside California. Please contact your preferred shipping company for information.

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The following lots are from the

Collection of Stefan Lawrence,

founder of Twentieth Gallery, Los Angeles, CA

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372

Louis Waldon

(1934-2013) “Flowers,” after Andy Warhol, 2006 Acrylic and screenprint in colors on canvas Signed and dated in ink, verso: Louis Waldon 06; with the black ink stamp, verso: Louis Waldon / Andy Warhol’s Factory / Super Star Years 1966-69 47” H x 47” W $800-1,200 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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373

Studio of Andy Warhol

Original screen used for printing 28.5 “ H x 24.375” W x 1.75” D $3,000-5,000 Provenance: Collection of Louis Waldon, reputed to be an original Andy Warhol screen Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA, gifted from the above Notes: Inscribed “PCS - 29” and “21” in ink on the top and both sides of the wood stretcher bars and on the bottom bar, respectively.

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374

Jean Arp

(1886-1966) Figure of a Bird Gold-plated bronze set in acrylic stand Edition: 74/300 Impressed with signature and edition: ARP Overall: 9.25” H x 6.25” W x 4” D $1,000-1,500 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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375

Henry Moore

(1898-1986) “Two Seated Figures II,” 1966 Etching and drypoint on Japon nacré Edition: 45/50 (there were also 10 artist’s proofs) Signed, dated, and numbered in pencil in the lower margin: Moore / 66; Frélaut and Lacourière, Paris, France, prntr.; Gérald Cramer, Geneva, Switzerland, pub. Plate: 8” H x 9.5” W; Sight: 8.125” H x 10.25” W $600-800 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA Literature: Cramer/Grant/Mitchinson 56

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376

Chris Classen

(20th/21st Century) White Painting, 2002 Acrylic on canvas Signed and dated with an extended, stylized letter on the verso: C. 02; signed again in the same manner and dated 6/20/02 on the lower stretcher 54” H x 54” W $700-1,000 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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377

Humberto & Fernando Campana (b.1953 & 1961-2022)

A Campana Brothers “Campane di Campana” glass bell for MOSS Design Gallery, 2005 Edition: 6/20 Etched to bell rim: venini per Moss / Campane di Campana In collaboration with Venini glassmakers in Murano, Italy, with glass clapper and natural wood stick handle Overall: 28” H x 8.5” W x 7” D; Glass: 6.125” H $400-600 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA Notes: Murray Moss (b. 1949) was the founder of MOSS design gallery in New York, NY. As frequent collaborators, he commissioned many projects from the Campana brothers, including their iconic “Banquete” chair (2002), which was constructed from children’s stuffed animals. This piece was commissioned for the 2005 show “Campane di Campana,” translating to “Bell by Bell” at MOSS design gallery, a collaboration between Estúdio Campana and Murano glassmaker Venini.

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378

Bari Ziperstein (b. 1978)

A near pair of Contemporary bust table lamps, circa 2017 Each marked to base verso: [artist’s logo] / BARIZIPERSTEIN.com Glazed and parcel-gilt ceramic with four lights, electrified 2 pieces Taller: 19.5” H x 12” W x 7.25” D; Shorter: 18.5” H x 11.25” W x 8.25” D $2,000-4,000 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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379

Lawrence Weiner

(1942-2021) “From Before & After” rug for Henzel Studio, 2018 Silk on cotton foundation From the edition of 50 plus 1 artist proof 11’ 4.5” L x 4’ 5.5” W $2,000-4,000 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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380

T. H. Robsjohn-Gibbings (1905-1976)

A lounge chair and ottoman model WWA-6, mid-20th century Each unmarked The chair with spindle back and tubular wood frame, the seatback and seat cushion upholstered in an ivory tufted fabric, with conforming ottoman 2 pieces Chair: 33” H x 26.25” W x 33” D $2,000-4,000 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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381

A pair of Scala Luxury ‘3 Clover’ side tables

Early 21st century Each smoky ice resin acrylic table with faux shagreen top 2 pieces Each: 27.25” H x 21.5” W x 21.25” D $2,000-4,000 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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382

Three Skram Furniture Co. leather stools

Early 21st century Each impressed to underside: skram / furniture company Leather clad wood 3 pieces Tallest: 25.5” H x 10.5” W x 12” D; Each shorter: 18.5” H x 12.75” W x 14.5” D $300-500 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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383

Attributed to Philippe Starck (b. 1949)

A Modern foam stool, circa 2000 Unmarked The formed foam seat raised on four enameled metal legs 21.75” H x 13.5” Dia. $300-500 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA Notes: By repute, this stool was designed by Philippe Starck (b. 1949) for a Prada store.

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384

Andi Kovel (b. 1969)

A set of four art glass pieces for Esque Studio, early 21st century Each etched: A Kovel / esque; and variously dated ‘03’ or ‘07’ Comprising two with frosted interior and two with mirrored interior 4 pieces Tallest: 13” H x 13” Dia.; Shortest: 8.5” H x 12.25” Dia. $700-900 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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385

Hella Jongerius (b. 1963)

A Nymphenburg porcelain ‘Animal Bowl with Snail,’ early 21st century Designed 2004 With impressed and printed factory marks; incised: 1762aJ27; further stamped: hella jongerius; painted: 2607/134/137 From the ‘Animal Bowl’ series, the snail depicted leaving behind a trail of gilt filigree, housed in original factory box Bowl: 2.25” H x 8” Dia.; Box: 3.125” H x 10.75” W x 10.75” D $600-800 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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386

After Roy Lichtenstein (1923-1991)

A dinnerware place setting by Barney’s New York, 2013 From the Limited Edition of unknown size Each printed with artist’s signature and: ART PRODUCTION FUND / BARNEYS NEW YORK / © Estate of Roy Lichtenstein Comprising: 1 dinner plate (10.75”) 1 salad plate (9.25”) 1 bread & butter plate (6.25”) 1 soup bowl (8.5”) 1 cup (3.625” H x 2.25” W x 2” D) 1 saucer (6”) All within original fitted box 6 pieces Box: 3.25” H x 16.25” W x 11.5” D $300-500 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA Notes: Produced in collaboration with the Art Production Fund and the Estate of Roy Lichtenstein, a reproduction of the 1966 design for dinnerware manufactured by Jackson China for the Durable Dish Company and retailed by Leo Castelli Gallery.

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387

After Roy Lichtenstein (1923-1991)

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388

William Wegman (b. 1943)

A porcelain plate for Swid Powell, 1995 Printed to underside: Swid Powell / William Wegman [script] / Dusted, 1982 / Polacolor Print / for The Art Matters Catalog™ Within original factory box Plate: 1.375” H x 12” Dia.; Box: 1.625” H x 12.625” W x 12.625” D $600-800 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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389

LaGardo Tackett (1911-1984)

A model K-50 bisque ceramic planter for Architectural Pottery, mid-20th century Impressed to interior of base: ARCHITECTURAL POTTERY / MADE IN USA 18” H x 15.875” Dia. $600-800 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA Literature: Dan Chavkin, et al., “Architectural Pottery: Ceramics for a Modern Landscape” (New York: The Monacelli Press, 2024), pg. 6 & 37

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390

Two Gainey Ceramic planters

20th century Smaller impressed to underside: GAINEY CERAMIC / USA / [indecipherable model number] / LA VERNE CALIF; larger impressed indistinctly Each glazed ceramic 2 pieces Larger: 11.75” H x 14.875” Dia.; Smaller: 10.25” H x 13” Dia. $200-300 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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391

Mattia Biagi

(b. 1974) Black tar teddy, 2008 Black tar and mixed media mounted in acrylic case Edition: 4/5 Signed, dated, and numbered to case verso: BL Teddy: 14” H x 8.5” W x 6” D; Case: 15.375” H x 10.5” W x 7.75” D $800-1,200 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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392

Clarence Sinclair Bull

(1895-1979) “Mata Hari” (Greta Garbo), 1932 Gelatin silver print on paper An artist’s proof aside from the edition of unknown size With the artist’s partial embossed stamp in the lower left of the image: Clarence Sinclair Bull; inscribed “AP” in pencil and with the Kobal Collection embossed stamp in the lower margin; with the artist’s black ink stamp and a copyright ink stamp, verso; titled and dated on a post-it note affixed verso Image:13.25” H x 10.5” W; Sheet: 14” H x 11” W $300-500 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

393

Clarence Sinclair Bull

(1895-1979) Greta Garbo Gelatin silver print on paper Edition: AP 7/15 With the artist’s embossed stamp and numbered in pencil, all in the lower margin: Clarence Sinclair Bull Image: 18.625” H x 15.125” W; Sheet: 20” H x 16” W $300-500 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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394

Herb Ritts

(1952-2002) “Female Torso with Veil,” (Paradise Cove), 1984 Photograph on matte photographic paper From the edition of unknown size and date With the artist’s embossed stamp in the lower margin at right: Herb Ritts; inscribed in pencil, verso: “Gift Print / To / Sharon / much love always / to the / Boss - / and the mother of my child - / xxxooo / Herb / ‘Veiled Female Torso’ Paradise Cove, CA. 1984 Herb Ritts” Image: 17.75” H x 15” W; Sheet: 19.875” H x 16” W $400-600 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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395

Bert Stern

(1929-2013) Marilyn Monroe: from “The Last Sitting, 1962” (“Avant Garde” magazine, Day Glow series) Screenprint in colors on tan paper Edition: 76/135, printing date unknown Unsigned; numbered in pencil in the lower left corner of the image Image/Sheet: 35.25” H x 45.75” W $500-700 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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396

Bert Stern

(1929-2013) Marilyn Monroe: from “The Last Sitting, 1962” (“Avant Garde” magazine, Day Glow series) Screenprint in colors on black paper Edition: 73/125, printing date unknown Unsigned; numbered in pencil in the lower left corner of the image Image/Sheet: 35.25” H x 45.75” W $500-700 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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397

Bill Stern

(20th/21st Century) “Stop Gentrification,” 1985 Acrylic on canvas Signed lower right: Stern; titled in the image; signed and titled [including an exclamation point] again, and dated, all verso; inscribed “76 Stern,” presumably in another hand, on the canvas overlap 54” H x 72” W $600-800 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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398

St. Jean

(20th/21st Century) Three works: “Casual Observation #21,” from “Bag in the Wind Series,” 1997 Collage and mixed media on paper Signed, titled, dated, and inscribed in ink in the lower portion of the image: St. Jean 97; titled in the image near the lower edge and again near the left edge; inscribed: Above diagram depicts the flight pattern of a plastic / bag blowing in the wind on Broadway and Houston St. / 2 Witnesses / NYC Sight: 5” H x 11” W “Casual Observation #39,” presumably from “Bag in the Wind Series,” 1997 Collage and mixed media on paper Signed, titled, dated, and inscribed in ink in the lower portion of the image: St. Jean 97; titled in the image near the lower edge; inscribed: The above diagram depicts the flight pattern of a plastic bag blowing over Times Square on Feb. 12, 1997 at 11:10 p.m. / 3 Witnesses / N.Y.C. Sight: 5” H x 11” W “Casual Observation #74,” presumably from “Bag in the Wind Series,” 1997 Collage and mixed media on paper Signed, titled, dated, and inscribed in ink in the lower portion of the image: St. Jean 97; titled in the image near the lower edge; inscribed: Thru a cafe window I saw a plastic bag blow madly / around in the air. It took my worries away. / 1 Witness / N.Y.C. Sight: 5” H x 11” W $300-500 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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399

St. Jean

(20th/21st Century) “The Patina of Use,” 1997 Collage and mixed media on paper Signed and dated lower right: St. jean 97; titled lower left Sight: 10.875” H x 13.75” W $300-500 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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400

Milton Glaser

(1929-2020) A figure and two fish, 1951 Oil on canvasboard Signed and dated lower left: Glaser / 51 14” H x 18” W $500-700 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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401

After Georges Braque

(1882-1963) “Le guéridon noir” (The Black Pedestal Table), by Georges Visat Etching and aquatint in colors on wove paper An impression aside from the signed and numbered edition of 100 Appears unsigned and unnumbered; with the artist’s and the printmaker’s names etched in the blank of the plate directly below the image at lower right and left, respectively: G. Visat sculpt / G. Braque pinx; and with what is presumably the logo of Visat’s printmaking studio, Paris, France, etched in the blank of the plate below the lower right corner of the image Plate: 13.875” H x 24” W; Sight: 14.125” H x 24.25” W $400-600 Provenance: Galerie Juarez Inc., Los Angeles, CA Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA Notes: This work is based on Georges Braque’s 29” H x 51” W oil painting from 1919 of the same subject in the permanent collection of the Centre Pompidou, Paris, France (see “L’opera completa di Braque : dalla scomposizione cubista al recupero dell’oggetto: 1908-1929,” p. 94, no. 166).

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402

Paul Neverburg

(20th Century) Two works: “Wood Nymph” and “Morning Siesta” Each: Photograph on paper affixed to a matboard mount, as issued Each from the edition of unknown size and date Each signed and titled in ink on a label affixed to the verso of the mount Image/Sheet of each: 10.75” H x 13.5” W; Mount of each: 20” H x 16” W $300-500 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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403

Richard W. Bell

(20th Century) “The Colored Girl: A Portrait of Charles Newton’s Sister,” 1954 Oil on canvas Signed, titled, and dated verso: Richard W. Bell 1954 36” H x 24” W $300-500 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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404

Georges Maurice Cloud

(1909-1973) Abstract figural composition Ink and gouache on thin beige paper Unsigned, with the artist’s black ink estate stamp on the mat board’s verso Image/Sheet: 4.5” H x 7” W $300-500 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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405

Luis Eduardo Aute

(b. 1943) “Lisbeth,” 1965 Pencil, crayon, and ink on paper Signed and dated lower right: Aute / 65; titled lower left Sight: 27.25” H x 19.25” W $400-600 Provenance: Gallery Juarez Inc., Los Angeles, CA Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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406

Gloria Martin

(20th Century) Abstract, 1981 Glazed ceramic bas relief Incised signature and date at lower right: Gloria Martin 81; Marked to frame verso: TWE 0317 Ceramic: 24.625” H x 24.25” W x 1.375” D $400-600 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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407

Hella Jongerius (b. 1963)

A group of porcelain dinnerware for Royal Tichelaar, early 21st century Some with printed factory mark and: hella jongerius; some with impressed factory mark; each B-Set impressed to interior: 405w#451~HJ Comprising: ‘B-Set’: 1 carafe (10.25” H x 4.75” Dia.) 1 dinner plate (10”) 1 salad plate (7.5”) 1 serving bowl (4.5” H x 8.5” Dia.) 4 tall cups (4.25” H) 4 short cups (2.375” H) ‘T-set’: 1 teapot (5.25” H x 9.125” W x 4.75” D) Associated Royal Tichelaar: 1 carafe (11” H x 3.75” Dia.) 6 cups (3.5” H) 1 small cup (2.75” H) 21 pieces $400-600 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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408

Tapio Wirkkala (1915-1985)

A collection of porcelain vases for Rosenthal, mid/late 20th century Each with printed factory marks 11 Pieces Tallest: 18.5” H x 5” W x 4.625” D; Shortest: 5.125” H x 3.625” Dia. $400-600 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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409

Four Modern ceramic vases Four works:

Nils Thorsson (1898-1975) A Royal Copenhagen faience ‘Baca’ vase, 1979-1983 With factory marks, artist’s cipher, and numbered: 870/3455 / A 7.375” H x 2.375” W x 2.375” D Johanne Gerber (20th Century) A Royal Copenhagen faience ‘Baca’ vase, 1974-1978 With factory marks, artist’s cipher, and numbered: 719/3475 / 4 11.25” H x 3.875” W x 3.875” D Richard Saar (1924-2004) A Saar Studios footed ceramic vase, circa 1970s Signed to underside: Saar; with later marks, likely in another hand 8.875” H x 6.125” W x 6.125” D A Royal Delft Porceleyne Fles vase, 1992 With factory marks, date, and: $ Delft 12.25” H x 5.125” Dia. 4 Pieces $300-500 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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410

A Verner Panton ‘Spiral SP1’ chandelier

Mid/late 20th century Designed 1969 Unmarked With single light and suspended chromed plastic spirals issued from a chromed metal escutcheon, electrified 44” H x 17” Dia. $700-900 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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411

A Lee Broom ‘Carousel’ XL pendant light

Early 21st century With factory stamp to one light Comprising 60 gold-toned finished metal lights and conforming escutcheon joined by steel wires, electrified 62.5” H x 45.25” Dia. $1,500-2,000 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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412

An Abstract wood sculpture Mid/late 20th century Signed indistinctly in pencil Enameled plywood 72.5” H x 35” W x 18.5” D $400-600 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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413

A Modern abstract wrought iron sculpture

Mid-20th-early 21st century Unmarked With partial enameling, raised on a travertine base Overall: 28.75” H x 23” W x 21” D $400-600 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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414

In the style of Henry Moore (1898-1986)

A plaster figural sculpture, mid-20th-early 21st century Unmarked Resembling a reclining female form 24.75” H x 43” W x 22” D $600-800 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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415

A Contemporary figural acrylic light box

Late 20th century Unmarked The illuminated box with four stacked acrylic partitions, each etched with a dancing figure, electrified Overall: 16” H x 8” W x 9.75” D $300-500 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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416

Camilla Taylor

(b. 1981) “He Never Came Back” II, 2010 Relief print on fabric, ephemera, steel Signed, dated, and titled: C. Taylor / ‘10 / HNCB II 29” H x 18” W x 10” D $400-600 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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417

Camilla Taylor

(b. 1981) “He Never Came Back” I, 2010 Relief print on fabric, ephemera, steel Signed, dated, and titled: C. Taylor / ‘10 / HNCB I 29.25” H x 20” W x 10” D $400-600 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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418

Camilla Taylor

(b. 1981) Figures from the series “With Only These” Relief print on fabric, steel Editions: 5, 6, 7, 8, and 17 of 40 Each signed and variously numbered: C. Taylor Each: 14” H x 10” W x 5” D approximately $200-400 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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419

Camilla Taylor

(b. 1981) Figures from the series “With Only These” Relief print on fabric, steel Editions: 12, 14, 23, 30, and 38 of 40 Each signed and variously numbered: C. Taylor Each: 14” H x 10” W x 5” D approximately $200-400 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

5 6 2 A r t + D e s i g n l Tu e s d a y, Marc h 2 4 , 2 0 2 6

420

Camilla Taylor

(b. 1981) Figures from the series “With Only These” Relief print on fabric, steel Editions: 4, 16, 20, 26, and 29 of 40 Each signed and variously numbered: C. Taylor Each: 14” H x 10” W x 5” D approximately $200-400 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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421

Betsy Davis

(b. 20th century) Two wall sculptures, 2004 Acrylic and plastic Editions: 1/3 and 2/3 Each signed, dated, and numbered verso: Betsy Davis Larger: 21.75” H x 17” W x 3.125” D; Smaller: 12.125” H x 9.25” W x 2.75” D $500-700 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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422

Five Daniele Fratarcangeli mirrored glass vases

2012-2013 Each incised with signature and variously dated: Daniele Fratarcangeli / 12/30/12 / 2/4/13 [x3] / 3/3/13 The interiors mirrored 5 pieces Tallest: 19.5” H x 6.75” W x 6.5” D; Shortest: 5.75” H x 4.125” Dia. $400-600 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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423

Six Daniele Fratarcangeli mirrored glass vases

2012-2013 Each incised with signature and variously dated: Daniele Fratarcangeli / 12/30/12 / 2/4/13 [x3] / 3/31/13 / 7/14/2013 The interiors mirrored 6 pieces Largest: 23.25” H x 14.25” W x 14” D; Shortest: 5.75” H x 4.125” Dia. $400-600 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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424

Five Daniele Fratarcangeli mirrored glass vases

2012-2013 Each incised with signature and variously dated: Daniele Fratarcangeli / 12/30/12 [x2] / 2/4/13 [x2] / 3/31/13 The interiors mirrored 5 pieces Tallest:17.375” H x 8.25” W x 8” D; Shortest: 7.5” H x 4.25” Dia. $400-600 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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425

Five Daniele Fratarcangeli mirrored glass vases

2012-2013 Each incised with signature and variously dated: Daniele Fratarcangeli / 12/30/12 / 2/4/13 [x2] / 3/31/13 / 5/7/13 The interiors mirrored 5 pieces Tallest: 24” H x 8” W x 7.75” D; Shortest: 5.75” H x 4.75” Dia. $400-600 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

5 6 8 A r t + D e s i g n l Tu e s d a y, Marc h 2 4 , 2 0 2 6

426

A Greek style bronze head

20th century With verdigris patination, raised on a metal rod issued from a concrete base Head: 9.25” H x 7” W x 8.375” D; Overall: 17” H x 8.5” W $400-600 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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427

A collection of fifteen small globes

20th century Most variously marked for maker Each raised on metal stands 15 pieces Tallest: 15.375” H x 8.5” Dia.; Shortest: 4.375” H x 3” Dia. $300-500 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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428

A Folk Art carved wood goose 20th century Unmarked 31.5” H x 21.25” W x 21” D $200-400 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

5 7 2 A r t + D e s i g n l Tu e s d a y, Marc h 2 4 , 2 0 2 6

429

A group of Ekonda brass anklets and West African cuffs

19th/20th century Comprising three anklets and four cuff bracelets 7 pieces Largest anklet: 10” H x 5.5” W x 6” D; Smallest cuff: 2.375” H x 4.25 W x 4” D $400-500 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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430

An African Songye/Luba carved wood mask

20th century; Republic of the Congo Possibly Bwadi bwa Kifwebe, with fibrous neck adornment Overall: 19.5” H x 15” W x 17” D $300-500 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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431

Two West African polychrome carved wood masks

20th century Comprising one Grebo mask and one possibly Guro mask 2 pieces Larger: 20.5” H x 7.25” W x 4” D; Smaller: 15.5” H x 5.625” W x 5.75” D $200-300 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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432

Four African terracotta pottery items

20th century or earlier Comprising a possibly Katsina head/bust fragment raised on an enameled metal stand, a possibly Bura Sinda Sikkaa pottery head, an incised pot, and a shaped cylinder 4 pieces Katsina Head: 11.5” H x 5.25” W x 6.5” D; Pot: 6.375” H x 8.5” Dia. $400-600 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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433

An African carved wood chair

20th century The barrel-form chair with pierced details to seatback, raised on three curved legs 45” H x 29” W x 30” D $400-600 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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434

Two African carved wood chairs

20th century Each with openwork back over a circular seat raised on a stylized tripod base 2 pieces Taller: 33.75” H x 15.25” W x 16.25” D; Shorter: 32.75” H x 15.75” W x 21.5” D $300-500 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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435

Three Dogon wood granary ladders 20th century Each with notched steps 3 pieces 80” H and 77” H and 72” H $500-700 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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436

Two Dogon wood granary ladders 20th century Each with notched steps 2 pieces 83.5” H and 78” H $400-600 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

5 8 0 A r t + D e s i g n l Tu e s d a y, Marc h 2 4 , 2 0 2 6

437

Two Dogon wood granary ladders 20th century Each with notched steps 2 pieces 74.5” H and 72.25” H $400-600 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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438

Five East African carved wood headrests

20th century Comprising three with incised details and two natural wood 5 pieces Largest: 6.125” H x 22.5” W x 13.125” D $300-500 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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439

Damien Hirst (b. 1965)

A Supreme skateboard deck from the “Spot” series, 2009 From the edition of 500 With printed artist’s signature and maker’s logo: D Hirst Screen-printed on skateboard deck 31.25” L x 7.875” W $500-700 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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440

After Damien Hirst (b. 1965)

A skateboard deck tribute after “For the Love of God,” early 21st century Printed to top: H R / DAMIEN HIRST Screen-printed skateboard deck 31.25” L x 7.875” W $500-700 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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441

442

A Supreme skateboard deck, 2010 From the edition of 500 With printed artist’s signature and maker’s logo: BALDESSARI Screen-printed on skateboard deck 31.25” L x 7.875” W

A Supreme skateboard deck, 2010 From the edition of 500 With printed artist’s signature and maker’s logo: Screen-printed on skateboard deck 31.25” L x 7.875” W

John Baldessari (1931-2020)

$400-600

Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

Provenance: Collection of Stefan Lawrence, founder of Twent

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443

John Baldessari (1931-2020) BALDESSARI

tieth Gallery, Los Angeles, CA

A Supreme skateboard deck, 2010 From the edition of 500 With printed artist’s signature and maker’s logo: BALDESSARI Screen-printed on skateboard deck 31.25” L x 7.875” W $400-600 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA

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Consign Today

Modern & Contemporary Art June 16, 2026

Consignment Deadline: May 6, 2026 Auction Inquiries: info@johnmoran.com 5 8 8 A r t + D e s i g n l Tu e s d a y, Marc h 2 4 , 2 0 2 6

SINCE 1969

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art - jewelry - decorative objects - furnishings and more Sold at John Moran Auctioneers:

Deborah Kay Butterfield (b. 1949) Untitled, (Large Horse), 2013

Price Realized: $285,750

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Condition Reports 5 9 0 A r t + D e s i g n l Tu e s d a y, Marc h 2 4 , 2 0 2 6

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1 Overall good appearance. The colors good. Handling creases scattered throughout, and some creases with attendant craquelure in the pigment. Not examined out of the frame.

9 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With previous dealer’s label taped to underside.

Framed under glass: 20.25” H x 20.25” W x 1.5” D

10 Repair/restoration to rim. With shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Soiling and staining to underside.

2 Overall good appearance. The seven screenprints each with full margins and the colors fresh. A few of the sheets with an extremely minor and unobtrusive handling mark visible only in raking light. The original white paper-covered outer portfolio-box with minor shelf wear, surface soiling, a few minor surface scuffs, skinned patches, and old masking tape. Portfolio-Box: 9.25” H x 6” W x 1.25” D 3 Overall good appearance. The full sheet with deckled edges and the colors good. Framed floating, hinged or tipped to the back mat in places from the verso of the sheet edges. Not examined out of the frame. Framed under Plexiglas: 39.25” H x 48” W x 1.5” D 4 Overall good appearance. With wide (possibly full) margins. Pale light-staining. The lower left margin corner is slightly dog-eared. The sheet is framed floating, affixed to the back mat. Not examined out of the frame. Framed under Plexiglas: 40.5” H x 26.75” W x 1.375” D

Condition Reports

5 Overall good condition with minor shelf and handling wear, scuffs and scratches, and mild soiling commensurate with age.

592

6 Overall good condition with inherent flaws commensurate with the materials. 7 Overall good condition with minor shelf and handling wear and inherent firing flaws commensurate with age. 8 Overall good condition with minor shelf and handling wear and inherent firing flaws commensurate with age. With felt pads applied to underside. The bowl is of slightly irregular shape.

11 With a rice-sized chipped loss to rim. With shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Soiling and staining to underside. 12 Overall good appearance. The full sheet with deckled edges. Two pea-sized areas of minor surface soiling attendant with slight paper protrusions, verso, caused by the drying process of pooled pigments applied by the artist to the recto. The sheet is loose, not matted or framed. Unframed 13 Overall good appearance. The full sheet with deckle. There is a small crease in the very upper right corner, along the top edge, that is about 0.625” horizontal. Time staining. Minor sheet cockling. The sheet is framed floating, hinged to the back mat at various points along the edges. Not examined out of the frame. Framed under Plexiglas: 29.375” H x 38.375” W x 2” D 14 Each overall good appearance. With full margins and deckled edges. Each with minor handling marks scattered in the margins, primarily visible in raking light. Two of the works with a minor, unobtrusive 1” H crease along the left edge of the lower left margin corner. The original cream linen-covered portfoliobox with slight surface soiling and general shelf wear. Portfolio-box: 28” H x 38.75” W x 1” D

Framed under Plexiglas: 29.25” H x 22.25” W x 1.25” D 16 Each overall good appearance. Full margins and the colors fresh. “Subway” with a very minor abrasion at the extreme tip of the lower right corner. The work with the “Lakewood Mall” with a soft handling mark in the right margin, primarily visible in raking light. Each sheet is loose, not matted. The original green cloth-covered portfolio box with damp staining primarily along the spine edge, a few surface scratches, and minor shelf wear. Portfolio-box: 21.25” H x 29.75” W x 1.625” D 17 Overall good appearance. The full sheet. The sheet is framed floating, tipped to the back mat in places along the verso of the sheet edges. Not examined out of the frame. Framed under Plexiglas: 48” H x 35.25” W x 1” D 18 Overall good appearance. With margins. Not examined out of the frame. Framed under glass: 34.25” H x 27.5” W x 1.5” D

19 Overall generally good appearance. With full margins and the colors fresh. Old, generally pale, damp staining confined to the upper portion of the sheet (extending 9.5” down from the upper margin edge in the left margin, but only 2.5” down from the upper margin edge in the right margin), all of which is visible primarily in the upper portion of the vertical margins (as just described) more so than in the image, recto, and across the upper portion of the sheet, verso. Some attendant cockling to the sheet in the areas just described, visible primarily in raking light. A few pale and very unobtrusive scattered foxmarks in the figure’s forehead near her hairline, and another of the same type in her left cheek. Time staining along the extreme margin edges. Pale backboard staining, verso. The sheet is loose within its frame and shows no signs of having ever been hinged or matted. Framed under glass: 23.75” H x 23.75” W x 0.5” D 20 Each overall good appearance. With full margins and some edges deckled. With pale time-staining and minor offsetting. Each sheet is loose, as issued, with the usual center fold. The green portfolio box with usual shelf wear. Portfolio box: 18.625” H x 13.875” W x 1.75” D 21 Overall good appearance. With margins. Not examined out of the frame. Framed under Plexiglas: 32.125” H x 25.375” W x 1.125” D 22 Overall good appearance. With margins. Not examined out of the frame. Framed under Plexiglas: 33.5” H x 26.5” W x 1.5” D 23 Overall generally good appearance. With margins on three sides, and the usual central vertical fold and text, verso, as issued. The colors slightly attenuated, particularly in the small touches of red to the left of center. A pale stain measuring approximately 1” H x 0.125” W in the left margin, not affecting the image. Slight time staining along the extreme margin edges. Inscribed in pencil in a later hand on the verso of the lower margin edge: Original - Litho von Chagall, Das Konzert; surface soiling and scattered stains, verso. The sheet is taped to the overmat with three pieces of masking tape from the verso of the upper margin edge and corners. Framed under glass: 22” H x 29” W x 1” D

Condition Reports

15 Overall good appearance. The wax with minor losses along the outer edges, the largest measuring 0.25” H x 2” W and 2” H x 0.25” W along the upper left corner, and another measuring 0.25” H x 0.75” W along the bottom right edge, possibly in the hand of the artist. There are scattered surface markings that appear to be related to the artist’s process. The wax has possibly yellowed with time. The wax on board has been inset into a surrounding white mat board. Not examined out of the frame.

593

24 Overall generally good appearance. Full margins with deckled edges. Time staining and occasional minor surface soiling showing primarily along the margin edges. The sheet is loose, not matted. Unframed 25 Overall good appearance. With full margins and deckled edges. Soft handling marks in the margins, primarily visible in raking light. Scattered areas of minor grime in the margins, primarily along the edges of the window opening of the overmat and the margin edges. Surface soiling and traces of graphite scattered throughout the verso. The sheet is hinged to the back mat from the verso of the upper edge. Framed under Plexiglas: 25” H x 28.75” W x 1.75” D 26 Overall good appearance. A rich impression with platetone on a sheet with full margins and deckled edges. The sheet is framed floating, hinged to the back mat from the verso of the upper margin corners. Framed under Plexiglas: 25.5” H x 32.75” W x 1.75” D 27 Overall good condition with scattered scuffs, scratches, nicks, and minor abrasions commensurate with age. The leather worked in, with fading, creasing, and rubbed wear. The seats with areas of discoloration, one seat with three 2” long tears.

Condition Reports

28 Overall good condition with minor scuffs and scratches, handling wear, and small nicks to edges commensurate with age. Small chipped losses to front right proper of rocker. Some rubbed wear and fading to finish of seat and armrests.

594

29 Each overall good condition with scattered scuffs, scratches, and minor indentations and small nicks commensurate with age. Each foot with some moisture staining. The seatback cushion does not pull taught to the top of the supports. The canvas in good condition with minor soiling. 30 One chair with losses to top layer of plies to underside of seat and cracking to the bend in the seatback. Each overall good condition with scattered scuffs, scratches, nicks, and soiling commensurate with age. Each with some staining to seat plywood and losses to enameling of metal stretcher with attendant oxidation. Cushions in good condition with minor wear.

31 Overall good condition with scattered scuffs, scratches, nicks, and soiling commensurate with age. The top with a quarter-sized stain. 32 The top with scuffs and scratches, soiling, surface grime, and a few drink rings. The base with pitting to chromed finish, with attendant oxidation to base metal. Overall good condition with wear commensurate with age. 33 Each with soiling, scratches, scuffs, nicks, and indentations commensurate with age. The leather with creasing, slight stiffening, and scuffs and scratches. 34 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. Wear to patination throughout, with some black scuffs, the largest at back left shoulder. 35 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. 36 Top right corner with a 3” x 3” x 3” area of restoration, with adjacent 1.75” long crack along upper edge. The top left corner and bottom right corner also with areas of restoration. Possibly with other areas of restoration or cracks. Not examined out of case. 37 The top piece of head with a break. Otherwise overall good condition with oxidation to metal components and scattered scuffs and scratches commensurate with age. 38 Overall good condition with oxidation, dust accumulation, and handling wear commensurate with age. 39 Overall good condition with minor shelf and handling wear commensurate with age. Wallmounting hardware to bracket verso. 40 Scattered small losses and cracks in the plaster. With scuffs, abrasions, shelf wear, and dust accumulation commensurate with age.

Blacklight: Touch-ups throughout the work, very large clusters appearing in the background, whereas smaller flecks of touch-up throughout the figure. Frame: 49.625” H x 37.5” W x 3” D 42 Visual: Overall generally good appearance. Scattered areas of fine, stable craquelure. Specks of grime and slight rubbing to the pigment in areas. Stretcher bar creases along each side.The upper left quadrant of the canvas is slightly loose from the stretcher. Blacklight: No evidence of restoration. Frame: 16.25” H x 21.25” W x 2.5” D 43 Overall good appearance. There are two diagonal creases in the upper right corner measuring 5.25” H and 3.25” H. The sheet is loose, not matted. Unframed 44 Overall good appearance. There is a very fine craquelure pattern in the pigment visible when examined under magnification, resulting in a few scattered pinpoint-sized losses to the pigment, most notably in the ears, eyes, and bottom of the front leg of the frontmost stag. There are two tears in the upper right corner, the first is about 2.5” diagonally, affecting the upper layer of cardboard, and the second is about 3” diagonally and is repaired by paper tape verso. Light surface scratches about 3” H at the belly, 1” H below the center belly, and two 1” H just right of the tail, all near the frontmost stag. Framed under glass: 15.5” H x 22.5” W x 1” D 45 Visual: Overall good appearance. Small scattered areas of very fine craquelure. Blacklight: No evidence of restoration. Frame: 11” H x 15” W x 1.75” D

46 Visual: Overall good appearance. Blacklight: No evidence of restoration. Framed under glass: 12” H x 16.5” W x 1.5” D 47 Visual: Overall good appearance. A few unobtrusive vertical lines very faint, fine craquelure near the lower portions of the left and right edges, only visible in raking light. Blacklight: No evidence of restoration. Frame: 19.75” H x 23.875” W x 1.875” D 48 Visual: Overall good appearance. Blacklight: No evidence of restoration. Framed: 23” H x 19.25” W x 1.75” D 49 Overall good condition with soiling, several stains to brass standard and base, and oxidation commensurate with age. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment. 50 Overall good condition with minimal handling wear commensurate with age. 51 Overall good condition with minimal shelf and handling wear commensurate with age. 52 Overall good condition with tarnishing and scattered scuffs and scratches commensurate with age. Updated mirror. 53 With scuffing, abrasions, and small losses at edges and corners, staining to one side, and slight lifting to rear panel. Scattered scuffs and scratches, nicks, and rubbed wear to the leather underside commensurate with age. With a 1” abrasion and attendant loss at rear of hinge. 54 Each overall good condition with scattered scuffs and scratches, oxidation, dust accumulation, and soiling commensurate with age and use.

Condition Reports

41 Visual: Overall generally good appearance. Fine craquelure in the black pigment throughout the figure and hat. Clusters of “bubbling” and instability to the pigment with attendant flaking to the pigment scattered throughout, mostly apparent in the lower half of the work. An unobtrusive pea-sized area of surface loss in the background near the lower edge, at left.

595

55 Each overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. Scratches in the gilding, concentrated to edges. 56 Overall good condition with scattered scuffs, scratches, small indentations, and oxidation commensurate with age. 57 Cream jug with 1.75” x 0.75” repaired break to pour spout. Each with shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. 58 Each overall good condition with minor shelf and handling wear commensurate with age. 59 Overall good condition with minor shelf wea and light scratches commensurate with age. 60 Overall good condition with minor shelf and handling wear and oxidation to metal components commensurate with age. One mounted element loose from its mounting, each possibly slightly bent out of original form. 61 Overall good appearance. Slightly uneven toning to the sheet showing mostly along the left edge of the table. As mentioned, there is a lengthy message written and signed in ink by the artist across the entire verso of the sheet. The sheet is taped to the overmat with masking tape along the verso sheet edges.

Condition Reports

Framed under glass: 7.75” H x 7.875” W x 0.5” D

596

62 Overall good appearance. An unobtrusive 0.75” vertical tear in the paper, exposing a thin sliver of the underlying canvas, extending into the image from the left portion of the upper sight edge. Not examined out of the frame. Framed without glazing; Inner frame: 44.75” H x 44” W; Outer frame: 50” H x 51” W x 4.25” D 63 Visual: Overall good appearance. Blacklight: No evidence of restoration. Framed: 36” H x 42.125” W x 4” D

64 Visual: Overall good appearance. Minor grime and varnish discoloration. Scattered frame abrasion showing along the left, right, and upper edges. Blacklight: No evidence of restoration. Frame: 35.5” H x 30.25” W x 3” D 65 Overall generally good appearance. Pale light- and time staining. Fine craquelure in the thicker areas of pigment. A 0.25” H x 0.25” W area of the upper left sheet corner has been reattached with a piece of hinging tape on the verso, not affecting the image. Old tape residue and staining along the verso of the sheet edges. The sheet is attached to the back mat with white tape from the lowest portion of the left and right sheet edges. Framed under glass: 30.25” H x 36” W x 4.75” D 66 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Crazing to the glaze throughout. Not examined out of frame. The board with staining to the upper third. Framed: 22” H x 13.5” W x 1.5” D 67 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 68 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 69 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The two taller with crazing to the glaze. Each with mounting putty residue to underside. 70 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Deer vase with crazing to the glaze. 71 Overall good condition with scattered minor scuffs and scratches.

79 With repair to top of left ear lobe. Otherwise with minor shelf and handling wear commensurate with age.

Unframed

80 The top shelf with a crease in it with a slight indentation. The drill with a large indentation. Otherwise good condition with scuffs, scratches, and dust accumulation commensurate with age.

73 Overall good appearance. Minor handling marks primarily scattered throughout the outer edges. Not examined out of the frame.

81 Overall good condition with minor handling wear commensurate with age. Please note, the ladder does not open and is not functional.

Framed under glass: 44.125” H x 32.75” W x 2.625” D

82 One side with two tears and indentation in the rim of crate. Otherwise good condition with scuffs, scratches, and dust accumulation commensurate with age.

Blacklight: No evidence of restoration.

74 Visual: Good overall appearance. Blacklight: No evidence of restoration. Framed: 14” H x 17” W x 0.875” D 75 Overall good appearance. A few very fine, unobtrusive surface scratches scattered primarily in the blue area of the lower left quadrant. Artist pinholes in each corner. The sheet is framed floating, hinged to the back mat in various places along the verso of the sheet edges. Framed under glass: 40” H x 33.75” W x 2” D 76 Visual: Overall good appearance. A small area of the edges of the collaged paper very slightly lifting in the lower right quadrant. Minor occasional scattered spots of grime. Blacklight: No evidence of restoration. Frame: 95” H x 74.5” W x 3” D 77 Visual: Overall good appearance. Slight surface soiling. An unobtrusive rice-sized pressure mark with attendant tiny 0.125” H split near the center of the right edge. Blacklight: No evidence of restoration. Unframed 78 Each with minor shelf and handling wear commensurate with age. Each with cork padding to underside, possibly inherent to the pieces.

83 Each overall good appearance. Full sheets and the colors fresh. Each of these large sheets with a few minor, soft, handling marks confined almost exclusively to the blanks of the background, and of these, most are visible only in raking light. Each sheet is loose, not matted. Each unframed 84 One bowl with a 1” long crack to rim, possibly an inherent firing issue. Each ceramic overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Some with crazing. The wood base in good condition with shelf and handling wear commensurate with age, the leather with some rubbed wear and mild soiling. 85 Overall good condition with minor shelf and handling wear and very minor oxidation commensurate with age. The base with a 0.75” long loss along edge. Some scuffs and minor abrasions at extremities. 86 Visual: Overall good appearance. A few faint and thin surface scratches, only visible in raking light. Small, occasional areas of frame abrasion scattered in places along the extreme edges. Blacklight: No evidence of restoration. Frame: 48.625” H x 36.125” W x 1.25” D

Condition Reports

72 Visual: Overall good appearance. Scattered areas of craquelure. A few pea-sized (or smaller) pigment losses scattered throughout, most of which are in the upper left quadrant. Slight wear to each of the canvas corners

597

Blacklight: No evidence of restoration.

91 Each: overall good appearance. Mounted, floating, to a linen covered back mat or board. “Embossed Square” has some corrosion or grime throughout the deep grooves of the coils, visible in raking light, predominantly in the center and lower right, with the largest about 2” H x 1.5” W. “Opposed Semi Circles” has one metal strand that appears distorted along the bottom right side, about 1.25” horizontally. Some corrosion or grime throughout the deep grooves of the coils, visible in raking light, mainly center left and center right, with the largest about 2” H x 0.5” W. There is also a rice-sized piece of debris trapped under the glass, along the center of left edge of the backing board. Each: not examined out of the frame.

Frame: 18” H x 22.125” W x 1” D

Each framed under glass: 17” H x 17” W x 1.5” D

89 Overall generally good appearance. Appears tipped to the back mount. Pale toning. Some buckling to the paper’s left edge. Two faint handling marks on the right side, one in the upper-middle and the other lower right. The upper left corner is creased about 0.875” diagonally. Two visible but faint discolorations (possible fingerprint stains) on the middle left side of the mount.

92 Each component is loose from its mounting with the base. The are where all components meet at one corner with rubbed wear, scuffs, oxidation, and indentations. Otherwise good condition with scattered scuffs, scratches, minor soiling, and shelf wear commensurate with age. One corner of granite with a fleabite chip.

87 Visual: Overall good appearance. An unobtrusive pinhead-sized nick into the varnish layer in the black pigment near the center of the lower edge, only visible in raking light. Minor frame abrasion scattered along each of the extreme edges. Blacklight: No evidence of restoration. Frame: 48.625” H x 36.125” W x 1.25” D 88 Visual: Overall good appearance. The canvas sags slightly in the center. Surface dust.

Condition Reports

Framed under Plexiglas: 13.625” H x 10.5” W x 0.875” D

598

90 Each: overall good appearance. Mounted, floating, to a linen covered back mat or board. “Quartered Square” has two areas where the metal appears distorted, one in the upper center, where one metal coil strand overlaps another for about 1” diagonally, and the other in the lower center, where four metal coil strands are pulling away from the main composition for about 2” diagonally, and with the bottom two strands overlapping two other strands for about 0.25” diagonally. “Circle” has some corrosion or grime throughout the deep grooves of the coils, visible mainly in raking light. The main areas of corrosion are in the center right, approximately 1” H x 0.75” W, the center right edge about 2” H x 1” W, and the upper left quadrant. Each: not examined out of the frame. Each framed under glass: 17” H x 17” W x 1.5” D

93 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. 94 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. 95 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. 96 Overall good condition with scattered scuffs and scratches and dust accumulation commensurate with age. Pitting to the chrome finish. 97 Overall good condition with scattered scuffs, scratches, and small nicks commensurate with age. Scratches concentrated to tabletop. 98 Scattered scuffs to aluminum base. One rubber pad to underside is detaching. Each overall good condition with scattered scuffs and scratches, shelf wear, and minor nicks commensurate with age.

100 Overall good condition with mild dust accumulation and scattered minor scuffs and scratches, concentrated to edges, commensurate with age. 101 Each overall good condition with scattered scuffs and scratches commensurate with age. Pitting to the chromed finish. Leather overall good condition with mild creasing and rubbed wear at edges and corners, concentrated to upper seatback corners. 102 Two shelves with losses to the edges, one shelf with cracking along a mounting edge, needing repair or replacement. The writing surface with localized areas of nicks and indentations. The pull-out surface is loose when activated, with one support hinge loose from its hinge, with attendant losses and cracks, an another joint repaired below the writing surface. With scattered scuffs, scratches, nicks, and abrasions commensurate with age. The exterior with some fading to the wood finish, concentrated to the top. Includes key. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment. 103 Table slightly shaken. Overall good condition with scattered scuffs, scratches, and minor nicks commensurate with age. The tray with fading to finish and two drink rings. 104 Overall good condition with minor wear commensurate with age. The armrests with some rubbed wear and losses to paint at inner edges. Cording in good condition. 105 Overall good condition with minimal handling wear. The box with mild shelf wear and scattered minor scuffs and scratches commensurate with age. 106 The tapestry in overall good condition with dust accumulation and light wear commensurate with age and use. A few scattered very small loose threads. Even fading to front of tapestry. The cotton fringe with light yellowing and minor soiling to some strands. With a wood pole mounted through a fabric sleeve at top edge; Pole: 74” L approximately x 1.25” Dia..

107 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Oval vase with two glaze chips to rim and crazing to the glaze throughout. 108 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The cup and weed pot each with crazing to the glaze. 109 Square bodied with repaired breaks to neck and rim. The conical with two dime-sized chipped losses and one repaired break to base. Wide-bottom with repaired break to neck. Three with crazing to the glaze. Each with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 110 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Bowl with a fleabite chip to glaze at rim, crazing to glaze throughout, and soiling to interior. 111 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The single lady with a hairline glaze crack across center of bowl and continuing through center of underside. 112 Overall good appearance. There is an approximately 1” horizontal repaired tear long the upper left corner, side 1.125” down from the top edge. Minor paper cockling at the top edge, especially attendant with the hinges. Slight time staining. The sheet is framed floating, hinged to the back mat from the verso of the upper sheet corners. Framed under glass: 19.5” H x 17” W x 2” D 113 Visual: Overall good appearance. Minor dust accumulation and grime. Occasional areas of wear to the pigment scattered in places along the edges and corners of the work. A few faint surface scuffs in the lower left quadrant, primarily visible in raking light. Artist pinholes at each corner. Blacklight: Two approximately pea-sized touch-ups, one in the upper edge, at left, and the other in the lower portion of the right edge. Framed without glazing: 24.875” H x 20.75” W x 1.25” D

Condition Reports

99 Overall good condition with scattered scuffs, scratches, and nicks commensurate with age. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

599

114 Overall good appearance. Frame: 30.5” H x 89.5” W x 2.5” D 115 Overall good appearance. There is a 0.125” scuff mark at the edge of the upper left corner, and another 0.24” scuff mark in the lower portion of the right edge.

Condition Reports

120 Visual: Overall good appearance.

Unframed

Blacklight: No evidence of restoration.

116 Visual: Overall good appearance. Stretcher bar creases along each edge. An unobtrusive pea-sized pressure mark near the upper center of the left edge.

Frame: 46.75” H x 60.75” W x 2.5” D

Blacklight: No evidence of restoration.

Frame: 46” H x 30” W x 2.125” D

Frame: 30.25” H x 24” W x 1.625” D

117 Overall good appearance. An approximately 1” loss to the tip of the lower right sheet corner, possibly attendant with the artist’s working process. Occasional short pieces of brown paper tape in places along the verso of the sheet edges from previous matting

122 Visual: Overall good appearance. A few pinheadsized (or smaller) areas of darkened varnish scattered in the lower half.

Unframed; sold together with a former frame’s backing board with the artist’s signature, etc. on its verso.

600

119 ‘Diebenkorn’ with fading to dust jacket at spine and front and back margins. ‘Bay Area’ with inked notes to cover, half title, and title page. ‘Second Wave’ with ex-library marks to front free endpaper and title page. Each overall good condition with shelf wear and minor bumping at edges and corners.

118 A diagonal X-shaped slash 4” H x 1.5” W, left of center, with an attached 2” horizontal tear at the bottom of left leg of the X, extending leftward. An irregularly shaped 5” H x 8” W paper loss with tears lower center, taped back together, extending into the image. A vertical 6.5” H tear to the right of the center, 7” in from the right edge, with a small, loose piece of paper taped to it. A semicircle-shaped paper loss on the center left edge, 3.5” h x 1.5” W, and a horizontal tear along the bottom, 9.5” long, taped together, neither affecting the image. A 1.25” H x 0.75” W irregularly shaped stain, rough to the touch, probably as issued, on the upper right side, not affecting the image. The masking tape has yellowed with age and is discoloring the lower layers. All of this damage appears to be solely on the top vellum sheet. All of the sheets are fragile and time stained and the backing board appears to be acidic. The edges of the tissue are light stained. All four sheets are partially hinged from the top to a backing mat made of illustration board. The hinges are unstable. Framed under glass: 24” H x 31.125” W x 1” D

121 Visual: Overall good appearance.

Blacklight: No evidence of restoration. Frame: 20.5” H x 28.125” W x 1.625” D 123 Visual: Overall good appearance. Blacklight: No evidence of restoration. Frame: 35” H x 29” W x 3.25” D 124 Visual: Overall good appearance. Minor surface grime commensurate with age. Blacklight: No evidence of restoration. Frame: 14.25” H x 18.125” W x 0.75” D 125 Visual: Overall good appearance. An unobtrusive pinpoint-sized pigment loss in the blue pigment of the pillow to the right of the figure. Blacklight: No evidence of restoration. Frame: 33.75” H x 44.5” W x 2.25” D

Blacklight: A 1.5” H x 3” W touch-up in the sky of the upper right quadrant, in the repaired crack mentioned above, and a few pea-sized (or smaller) touch-ups to some of the pigment loss in the sky. A 0.5”H x 7” W band of touch-up along the left portion of the extreme upper edge. Framed with a Plexiglass backing: 17” H x 22” W x 2” D

131 Visual: Overall good appearance. Blacklight: No evidence of restoration. Frame: 24.75” H x 18.75” W x 1.25” D 132 Overall Good appearance. Framed under plexiglas: 34” H x 42’ W X 2” D 133 Visual: Overall generally good appearance. Occasional specks of grime. A nail-sized hole in the upper edge, at right, from a former nail. A few very unobtrusive flecks of pigment loss in the pants of some of the figures. Occasional faint and unobtrusive scattered surface scuffs, primarily visible in raking light. Scattered areas of slight abrasion and/or wear with attendant tiny surface losses, most of which are along the extreme right edge and lower right corner.

127 Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Unframed

134 Visual: Overall good appearance. Minor varnish discoloration in places throughout, primarily visible in the lighter pigments. Fine craquelure scattered throughout. Minor specks of wear to the pigment in the upper left corner.

128 Visual: Overall good appearance. Minor scattered grime primarily in the upper left quadrant. Blacklight: No evidence of restoration. Unframed 129 Visual: Overall good appearance. Scattered circular areas of craquelure. A few pea-sized (or smaller) pigment losses to the topmost layer of pigment, one of the largest showing on the upper left corner of the yellow couch in the lower left quadrant, and another near the right edge, on the ground to the right of the figure in the mirror. Blacklight: A few touch-ups in the upper right quadrant with related patches, 1.5” H x 2.5” W (or smaller), verso. Difficult to read under uneven varnish application. Frame: 56.75” H x 61.75” W x 2.5” D 130 Visual: Overall good appearance. A few flecks of grime near the lower edge. A 0.5” narrow surface mark near the bottom of the extreme right edge. Blacklight: No evidence of restoration.

Blacklight: No evidence of restoration. Frame: 30” H x 25.125” W x 1.5” D 135 Overall good appearance. The sheet with small wrinkles throughout, likely as a result of being laid to Masonite, visible primarily in raking light. A ricesized paper loss near the center of the left edge, and another, approximately pinhead-sized near the lower left corner. The sheet is partially sandwiched within the mat, most noticeably in the lower right sheet corner. Framed under glass: 28.5” H x 25.5” W x 1” D 136 Visual: Overall good appearance. Slight surface grime throughout as well as a few drips of grime in the orange sections of the right quadrant. Some scattered, roughly pea-sized pigment losses concentrated in places along the vertical edges. Blacklight: No evidence of restoration. Unframed

Condition Reports

126 Visual: Overall good appearance. Varnish discoloration. An approximately 3” jagged repaired crack in the board, in the sky of the upper right quadrant. A small cluster of pea-sized (or smaller) pigment losses in the tree to the right of the main house in the lower right quadrant. A few additional, unobtrusive, pinhead-sized (or smaller) pigment losses scattered occasionally throughout. Very slight frame abrasion along the lower portion of the left edge. Slight wear to the extreme outer edges and corners, and artist pinholes in each corner.

Frame 49.25” H x 61.75” W x 2” D 601

137 Visual: Overall good appearance. Slight surface grime throughout, some of which may be part of the artist’s working method. A small area of unobtrusive paint shrinkage, approximately 3” in diameter, near the upper left corner. A rice-sized pressure mark in the upper portion of the extreme right edge. Blacklight: No evidence of restoration.

146 Overall good appearance. The sheet appears to have been laminated throughout, in either the artist’s or another person’s hand. Two small areas of dust adhered to the surface of the dark blue pigment (and sealed within the lamination) in one of the abstract flowers near the lower portion of the left edge. The sheet is taped to the back mat from the center of the upper and lower edges, verso.

Unframed

Framed under glass: 35.75” H x 28” W x 2” D

138 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. With a fleabite chip to foot.

147 Visual: Overall good appearance. A few faint 2” long (or smaller) surface scuffs along the lower portion of the right edge.

139 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age.

Blacklight: A few small areas throughout the white pigment of the background fluoresce under blacklight, but this does not appear to be due to restoration.

140 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. 141 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. The rim with a pea-sized conchoidal chipped loss. 142 Overall good condition with very minor shelf and handling wear commensurate with age. 143 Chipping to base, which is detached from the rest, and with attendant chip to bottom corner of the form. With scuffs, scratches, handling wear, and dust accumulation commensurate with age.

Condition Reports

144 Overall good condition with minor shelf and handling wear commensurate with age.

602

145 Overall good appearance. The full sheet with deckled edges. A pinhead-sized area of paper-like residue adhered to the bright red pigment on the top of the smaller vase, near the lower portion of the right edge. Artist’s pinholes at each of the four corners. The sheet is taped to the back mat from the center of the upper and lower edges, verso. Framed under Plexiglas: 40.25” H x 33” W x 3” D

Frame: 26.5” H x 24.5” W x 1.75” D 148 Visual: Overall good appearance. Blacklight: No evidence of restoration. Frame: 26.5” H x 24.375” W x 1.75” D 149 Visual: Overall good appearance. Blacklight: No evidence of restoration. Frame: 17.75” H x 20.75” W x 1.75” D 150 Visual: Overall good appearance. Blacklight: No evidence of restoration. Frame: 17.25” H x 20.25” W x 1.75” D 151 Visual: Overall good appearance. Minor scratches and imperfections in the surface of the gold leaf. Blacklight: No evidence of restoration. Frame: 86” H x 61.5” W x 3.25” D 152 Visual: Overall good appearance. Blacklight: No evidence of restoration. Unframed

Framed under Plexiglas: 34.75” H x 42” W x 1.5” D

161 Visual: Overall good appearance. A pale and unobtrusive, approximately 3.5,” diagonal, linear, surface mark to the left of center at the lower edge. Occasional unobtrusive flecks or drips of grime, primarily visible under blacklight.

154 Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Frame: 62.25” H x 49.75” W x 2.25” D

Frame: 43.75” H x 32” W x 2.5” D

162 Overall good appearance. A few unobtrusive handling creases in the right half of the work, some of which may be inherent in the artist’s working process. An artist pinhole in each of the sheet corners. The sheet is framed floating, hinged to the back mat in various places from the verso of the sheet edges.

155 Visual: Overall good appearance. Blacklight: No evidence of restoration Framed: 44.875” H x 37.5” W x 1” D 156 Visual: Overall good appearance. Blacklight: No appearance of restoration. Framed: 41.5” H x 35.5” W x 3.25” D 157 Good overall appearance. The sheet is framed floating, tipped to the back mat from the verso of each corner. Framed under Plexiglas: 36.5” H x 29” W x 0.75” D

Framed under Plexiglas: 25.25” H x 33” W x 1.5” D 163 Overall good appearance. A few slight handling marks in places along the upper portion of the extreme right sheet edge, visible primarily in raking light. The tip of the upper right sheet corner very slightly dog eared. Framed floating, hinged to the back mat in places along the verso of the sheet edges. Framed under Plexiglas: 54” H x 42” W x 2.25” D

158 Overall good appearance. The sheet is framed floating, hinged to the back mat in places from the verso of the sheet edges (some minor cockling attendant with a hinge at the center of the lower sheet edge). Not examined out of the frame.

164 Overall good appearance. One of the 2.5” H x 1” W wax elements has detached from the surface of the book and left some glue residue in the lower right. Light scuffs and minor wear along the edges of the book and the collaged elements, inherent in the materials used and the creation of the piece.

Framed under Plexiglas: 25.5” H x 31.25” W x 1.5” D

Unframed, with a glass pane inside the book

159 Good overall appearance. The sheet is framed floating, hinged to the back mat from the verso of the upper sheet corners. Not examined out of the frame.

165 Overall good appearance. Light scuffs and minor wear along the edges of the book and the collaged elements, inherent in the materials used and the creation of the piece.

Framed under Plexiglas: 20.25” H x 23.25” W x 1.5” D

Unframed, with a glass pane inside the book

160 Visual: Overall good appearance. A very unobtrusive, pea-sized area of the encaustic is slightly chipped/ lifting, yet it seems to be relatively stable, in the lower portion of the extreme left edge. Blacklight: No evidence of restoration.

Condition Reports

153 Overall good appearance. Not examined out of the frame.

Unframed 603

166 Each overall good appearance. With full margins. Each with the slightest trace of foxing in the image, primarily visible in raking light. Some works with minor handling marks primarily in the margins. Some works with pale foxing showing on the verso and very minor adhesive residue from the clear archival corners in the verso margin corners. The colophon page with a few scattered foxmarks. The matting of each photograph with significant foxing throughout. The original blue linen-covered clamshell portfolio box with usual shelf wear. Portfolio box: 17.25” H x 21.25” W x 1.875” D 167 Each overall good appearance. With margins. Soft handling marks primarily along the margins, and the edges of each margin slightly curled. A few of the works with minor surface soiling and occasional pale foxmarks in the margins. Pale minor foxing on the verso of each photograph. The colophon page with foxing throughout. The sheets of glassine in between each photograph with foxing and discoloration. The original blue linen-covered clamshell portfolio box with shelf wear, minor surface soiling, and foxing. Portfolio box: 17.125” H x 21.25” W x 1.625” D 168 Overall good condition with handling wear and dust accumulation commensurate with age. Dust jacket with some rubbed wear and small creases at edges. Smudged stains to front free endpaper. Stand in good condition.

Condition Reports

169 Overall good appearance. The sheet is loose, secured to the back mat with four clear archival corners.

604

Framed under Plexiglas: 19.375” H x 25.25” W x 1.25” D 170 Overall good appearance. Not examined out of the frame. Framed under glass: 49.5” H x 68” W x 2.25” D 171 Overall good appearance. Not examined out of the frame. Framed under Plexiglas: 22.625” H x 22.625” W x 2.125” D

172 Overall good appearance. With margins. The sheet is secured to the back mat with four clear archival corners. Framed under glass: 22” H x 27” W X 0.75” D 173 Visual: Overall good appearance. Occasional stable craquelure, primarily in an area measuring approximately 6” H x 2” W in the dark background of the doorway’s upper section. A rice-sized surface scuff in the far-right portion of the doorway’s metal entrance gate. Two unobtrusive, parallel, hairline surface marks, each 0.5” H (or less), at the lower edge. Minor surface grime commensurate with age. Blacklight: No evidence of restoration. Frame: 44” H x 61” W x 1.5” D 174 Visual: Overall good appearance. Blacklight: No evidence of restoration. Unframed 175 Visual: Overall good appearance. Blacklight: No evidence of restoration. Frame: 24.625” H x 28.625” W x 2.25” D 176 Visual: Overall generally good appearance. Dust accumulation and grime commensurate with age and the use of thick impasto throughout much of the canvas. Occasional scattered craquelure concentrated primarily in the lower left and upper right quadrants. A pea-sized pigment loss near the center of the left edge. Stretcher bar creases showing slightly along all four sides. Blacklight: No evidence of restoration. Frame: 37” H x 37” W x 1.25” D 177 Each overall good condition with scattered minor scuffs, scratches, and small nicks commensurate with age. One nesting table with a large drink ring. Each tabletop with more concentrated scratching. 178 Overall good condition with scattered minor scuffs, scratches, and small nicks commensurate with age. The top with two 1” long deeper indentations.

179 Each with oxidation/verdigris to bronze tubing, soiling, weathering, and general wear commensurate with age and outdoor use. The cording with staining, notably on front of seat edge to one chair and a front corner of another.

190 Visual: Overall good appearance.

180 Each with oxidation/verdigris to bronze tubing, soiling, weathering, and general wear commensurate with age and outdoor use. The cording with staining and soiling.

191 Visual: Overall good appearance. Dust accumulation and occasional specks of old, darkened varnish. Small puncture holes visible on the recto at the upper center of both the left and right edges, originating from the verso. Minor wear in the upper left corner.

182 With a large repaired break to base. With shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Soiling to interior. 183 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. More scuffing at corners. 184 Overall good condition with minimal shelf and handling wear commensurate with age. 185 Overall good condition with minimal shelf and handling wear commensurate with age. Each nozzle with wax residue. 186 Overall good condition with minor shelf and handling wear commensurate with age.

Framed under glass: 14.875” H x 15.875” W x 1” D

Blacklight: No evidence of restoration. Frame: 31.5” H x 33.5” W x 1.75” D 192 Visual: Overall good appearance. Slight grime and varnish discoloration. Scattered small areas of fine craquelure throughout. Blacklight: No evidence of restoration. Frame: 21” H x 40.75” W x 2.25” D 193 Visual: Overall good appearance. Minor craquelure throughout, commensurate with age. The craquelure is more prominent in the areas of white pigment. The varnish has yellowed with age, allowing drip marks from the loose application to be visible. Blacklight: There is one small section in the area of the pink triangle in the upper left quadrant, approximately 3” H x 2” W where a few of lines of craquelure were finely inpainted. Frame: 41.75” H x 54.75” W x 2” D

187 Overall good condition with minor shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Hanging hardware verso.

194 Visual: Overall generally good appearance. Slight grime and varnish discoloration. Craquelure throughout, some of which is slightly unstable, with a few attendant pea-sized (or smaller) pigment losses along the left portion of the lower edge.

188 Each overall good condition with minimal shelf and handling wear commensurate with age.

Blacklight: No evidence of restoration.

189 Overall good appearance. Pale light-staining. The sheet is hinged to the back mat from the verso of the upper edge. Unframed

Frame: 30.25” H x 25” W x 1.75” D

Condition Reports

181 With shelf wear, scattered scuffs, and inherent firing flaws commensurate with age. No evidence of restorations or repairs under UV light. Soiling to the bowl throughout, with staining to rim interior and foot.

Blacklight: No evidence of restoration.

605

195 Visual: Three narrow horizontal lines of surface grime, each approximately 2” long (or less), in the lower right quadrant. Another shorter vertical line of the same sort, approximately 0.75” long, near the lower left corner. Occasional mostly very unobtrusive specks of grime scattered throughout.

201 Overall good appearance. With full margins and deckled edges. A faint handling crease in the deckle near the center of the right margin edge. Minor paper cockling. The sheet is framed floating, hinged to the back mat from the verso of the margin edges. Not examined out of the frame.

Blacklight: No evidence of restoration.

Framed under glass: 15” H x 20.25” W x 1” D

Frame: 49” H x 60.5” W x 1.5” D

202 Overall good appearance. Full margins with deckled edges. The smallest fleck and most unobtrusive area of either grime or foxing in the right margin, just beyond (and therefore not affecting) the extreme right edge of the image. The paper surface in the margin corners is slightly uneven, attendant with the hinges used on the verso. The sheet is framed floating, hinged to the back mat from the verso of each margin corner. Not examined out of the frame.

196 Overall good appearance. Framed floating, hinged to the back mat in various places from the verso of the sheet edges. Not examined out of the frame. Framed under Plexiglas: 45” H x 35.25” W x 1.75” D 197 Visual: Overall good appearance. Scattered craquelure in the thick brown pigment near the center of the upper edge. Blacklight: No evidence of restoration. Frame: 49.75” H x 49.5” W x 3” D 198 ‘Real Estate’ with two 1” long creases to glassine wrapper at front bottom edge, with some tanning. Each overall good condition with minor shelf wear commensurate with age.

Condition Reports

199 Overall good appearance. The full sheet with deckled edges and the colors fresh. A few minor and extremely unobtrusive, minute surface nicks in the background of the upper right quadrant, including one 0.125” hairline surface scratch in the space between the “c” and the “i,” primarily visible under strong raking light. A small spot of pale and unobtrusive surface soiling on the verso. The sheet is framed floating, hinged to the back mat from the verso of the upper sheet corners.

606

Framed under Plexiglas: 26.25” H x 20.75” W x 1.75” D 203 Overall good appearance. With margins. Not examined out of the frame. Framed under Plexiglas: 20.875” H x 17.625” W x 1.625” D 204 Overall good appearance. With margins. Not examined out of the frame. Framed under Plexiglas: 20.875” H x 17.625” W x 1.5 D” 205 Overall good appearance. There is some staining to the paper from the oil leeching onto the surface, as to be expected. The sheet is taped to the overmat with white linen tape from the verso of the upper sheet edge. Framed under glass: 22.5” H x 20.625” W x 1.25” D

Framed under glass: 29.75” H x 36.5” W x 1.25” D 200 Overall good appearance. Full margins with deckled edges. The sheet is framed floating, hinged to the back mat in various places from the verso of the margin edges. Not examined out of the frame.

206 Visual: Overall good appearance. Scattered specks of old varnish or grime.

Framed under Plexiglas: 65.75” H x 56.75” W x 2.75” D

Unframed

Blacklight: No evidence of restoration.

207 Overall good condition with dust accumulation, minor scuffs and scratches, and handling wear commensurate with age.

219 With a 0.75” H x 2” L break to rim with previous repair, retained with the lot. With minor shelf and handling wear and inherent firing flaws commensurate with age.

209 Overall good condition with minor shelf wear and dust accumulation commensurate with age.

220 Overall good condition with minor shelf and handling wear and inherent firing flaws commensurate with age. Remnants of mounting putty to rim of underside.

210 Overall good condition with minor shelf wear and dust accumulation commensurate with age.

221 Overall good condition with shelf wear and minor handling wear commensurate with age.

211 Overall good condition with minor shelf wear and dust accumulation commensurate with age.

222 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

212 overall good condition with mild oxidation and scattered scuffs, scratches, and small nicks commensurate with age. With a 1.5” long area of indentations to the metal, possibly inherent. 213 Overall good condition with oxidation, scattered scuffs and scratches, dust accumulation, and indentations to base commensurate with age. 214 With oxidation, staining, discoloration, stains, and scattered scuffs and scratches. 215 The group with a loss to one finger. Each otherwise overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 216 With an 8” long scratch in the bowl interior. With shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Sticker remnants to underside. 217 The larger with two 1” long chipped losses to rim and a large crack through. Each with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 218 With a 0.75” H x 1.375” W repaired break to rim. With minor shelf and handling wear and inherent firing flaws commensurate with age.

223 Overall good appearance. Full margins with deckled edges. A rich impression. Minor toning, occasional surface soiling, and very soft handling marks showing primarily in the margins and on the verso. An unobtrusive, 0.5” H x 0.75” W, pale rectangular stain near the lower margin corner. Two pale foxmarks in the right and lower margins, verso. The sheet is loose, not matted. Unframed 224 Overall generally good appearance. Full margins with deckled edges. Light staining from the mat’s window opening showing primarily in the margins. Some pale scattered foxing concentrated primarily in the margins and on the verso. A 1” soft diagonal crease in the deckle of the left margin edge. The sheet is hinged to the back mat from the verso of the upper margin corners. Unframed 225 Overall generally good appearance. Full sheet. Tipped to the original mount at the top with adhesive from verso causing a very pale discoloration, visible recto, in the upper right approximately 1” H x 1” W. This area is also causing minor surface buckling around it, extending approximately 0.5” on the right size of the stain. The mount is hinged to the backing board at the top edge. Very pale light-staining overall, with minor time staining on the mount. Framed under Plexiglas: 20.25” H x 16.25” W x 1” D

Condition Reports

208 Overall good condition with oxidation/rust to backing, likely inherent. Scattered minor scuffs and scratches commensurate with age. Scuffing to corners of brass component, which also has some areas of smudged staining.

607

226 Overall good appearance. With margins. Pale lightstaining. A printer’s crease extending 0.625” horizontally into the upper portion of the plate from the left margin edge. A pinhead-sized stain, likely due to an iron filing inherent in the original paper manufacture, in the upper right corner of the plate. Occasional very minor scattered foxing in the margins. Not examined out of the frame. Framed under glass: 20.5” H x 14.25” W x 1” D 227 Overall good appearance. A rich impression on a sheet with margins. A few minor spots of foxing scattered in the margins, not affecting the image. Not examined out of the frame. Framed under Plexiglas: 20.25” H x 13” W x 1” D 228 Overall good appearance. With margins. Slight lightstaining with a few scattered spots of faint foxing visible in the margins. Minor surface cockling visible in raking light, possibly due to the printing process. Not examined out of the frame.

233 Visual: Overall good appearance. A very unobtrusive reverse pressure mark, attendant with a small foreign object on the reverse, in the extreme upper edge, at left. Blacklight: No evidence of restoration. Frame: 37.5” H x 27.75” W x 1.5” D 234 Visual: Overall good appearance. Dust accumulation and occasional specks of grime. A very unobtrusive, approximately pinpoint-sized pigment loss near the center of the lower edge. Blacklight: No evidence of restoration. Frame: 36.625” H x 30.75” W x 3” D

229 Overall generally good appearance. A 2” horizontal section of the platemark slightly broken through along the upper plate edge, at right, likely as part of the printing process, and another of the same type, except shorter, along the lower plate edge, at right. A few very pale scattered foxmarks and minor stains, most of which are likely stray printer’s ink, scattered in the margins. Not examined out of the frame.

235 Visual: Overall generally good appearance. Dust accumulation and occasional specks of grime. Areas of fine craquelure and areas of instability to the pigment with attendant pigment losses, some of which are speck-sized and others measuring approximately pea-sized (or just slightly larger). Scattered clusters of either speck-sized bubbles or holes (from prior bubbling of the pigment), attendant with the materials used.

230 Overall good appearance. With margins. Not examined out of the frame.

Condition Reports

Framed under glass: 43.5” H x 29.25” W x 1.5” D

Framed under glass: 20.5” H x 23.5” W x 1” D

Framed under glass: 17” H x 21.5” W x 1” D

608

232 Overall good appearance. A few artist pinholes in the upper sheet corners. Occasional smudges in the hand of the artist near the sheet edges. As mentioned, the sheet is laid to board. Not examined out of the frame.

Framed under Plexiglas: 20.75” H x 17.25” W x 1.5” D 231 Overall good appearance. With margins. Pale lightstaining. Not examined out of the frame. Framed under Plexiglas: 20.75” H x 17.25” W x 1.5” D

Blacklight: No evidence of restoration. Frame: 30.25” H x 25.375” W x 1.25” D 236 Visual: Overall generally good appearance. Areas of grime mostly to the lighter pigments. Paint shrinkage scattered throughout the figure’s face and the outer parts of the work, primarily to the white surface pigment. A few areas of small, mostly unobtrusive pigment losses scattered primarily in the outer edges. Blacklight: No evidence of restoration. Frame: 22.5” H x 18.25” W x 2” D

Blacklight: No evidence of restoration. Framed without glazing: 25.25” H x 20.75” W x 2.5” D 238 Visual: Overall generally good appearance. A few areas where the paint is thin, either by intent or surface scuffing: one in the mother’s hair, approximately 0.25” H x 1.25” horizontal, another measuring 0.5” H x 0.5” W along the upper left center edge, and another along the left edge, center, measuring 1” H x 0.25” W, as well as two tiny spots above the baby’s head. Minor frame scuffing along the edge in the upper right corner. The lower left corner canvas is slightly buckled where the tension is looser. There is a pea-sized reverse pressure mark with an attendant pinpoint-sized paint loss near the elbow of the child in blue. An area of very fine craquelure in the upper left quadrant. Surface soiling throughout. Blacklight: No evidence of restoration. There are areas that fluoresce, but these are associated with dirt (possibly a liquid splashed onto the surface). Frame: 42.75” H x 30.75” W x 2” D 239 Visual: Overall generally good appearance. Significant grime and dust accumulation throughout. Scattered stable craquelure primarily in the lower half. Blacklight: No evidence of restoration. Frame: 57.5” H x 33.5” W x 1.25” D 240 Visual: Overall good appearance. The canvas stretcher is slightly warped (not square), causing the painting to not sit well in the frame. Blacklight: No evidence of restoration. Framed: 17.5” H x 22” W x 1” D (presumedly the frame has been hand-painted by the artist)

241 Visual: Overall good appearance. Blacklight: No evidence of restoration. Framed: 14.5” H x 16.75” W x 0.75” D (presumedly the frame has been hand-painted by the artist) 242 Overall good appearance. There is a pea-sized faint spot of foxing in the background between the two figures, with a few other small, scattered spots of foxing throughout. Minor light-staining. Minor paper cockling. Not examined out of the frame. Framed under glass: 45” H x 33.5” W x 1.75” D 243 Overall generally good appearance. There is one thin 0.75” H area of possible discoloration on the left side, and one small, light foxmark in the upper left. Mildly time-stained, the color may be slightly attenuated. Not examined out of the frame. Framed under glass: 41.625” H x 27.5” W x 1.75” D 244 Overall good condition with shelf wear and minor scattered scuffs and scratches commensurate with age. Mounting putty remnants to underside. 245 Overall good condition with minor shelf and handling wear commensurate with age. Mounting putty residue to underside, with tanning to applied label. 246 Overall good condition with minor shelf and handling wear commensurate with age. Faint scratches to bowl interior. Underside with mounting putty residue. 247 Overall good condition with minor shelf and handling wear commensurate with age. Scratching to inside of bowl. Mounting putty residue to underside, in-filling the chop mark. Staining to applied label. 248 Overall good condition with minor shelf and handling wear commensurate with age. Scratching to inside of bowl. Mounting putty residue to underside 249 Overall good condition with shelf wear and minor scattered scuffs and scratches commensurate with age. Losses to applied label and mounting putty residue to underside.

Condition Reports

237 Visual: Overall good appearance. Scattered areas of minor varnish discoloration. Small occasional areas of very fine craquelure. Two old white hinges are visible only along the extreme upper edge; they appear on the verso, barely peeking onto the recto. As mentioned, the sheet is tipped to a foam core board from places along the verso of the sheet edges and corners.

609

250 Overall good condition with shelf wear and minor scattered scuffs and scratches commensurate with age. 251 Each overall good condition with minor shelf and handling wear commensurate with age. Losses to one applied label. 252 Each overall good condition with minor shelf and handling wear commensurate with age. The bowl with sticker ghost to underside. 253 Overall generally good appearance. Toning throughout the recto and very, with the colors probably slightly attenuated. An approximately 0.25-1.5” H x 14.25” W irregular area of pale damp staining along the extreme lower sheet, only very slightly affecting the signature. A 5” long, flattened, diagonal crease across the lower right sheet corner, not affecting the signature, and primarily visible on the verso. Remains of old glue along the verso of the upper sheet edge, not showing through to the recto. The sheet is loose, not matted. Framed under glass: 26.75” H x 21.25” W x 2.5” D 254 Overall generally good appearance. Pale lightstaining and occasional specks of foxing scattered in the outer edges. Creases throughout. A few pale stains, the largest measuring 0.75” H x 1.25” W, all concentrated in the upper right quadrant. Not examined out of the frame. Framed under glass: 24.75” H x 20.75” W x 1” D

Condition Reports

255 Overall good appearance. The sheet is framed floating, tipped to the back mat. Not examined out of the frame.

610

Framed under Plexiglas: 17.25” H x 23” W x 1.5” W 256 Overall good appearance. With margins. Small areas of pale staining in places along the upper and lower margin edges, presumably attendant with glue used on the verso. Handling creases and marks scattered in the outer margin edges. Not examined out of the frame. Framed under glass: 32.625” H x 30.25” W x 2” D

257 Overall good condition with minor scuffs and scratches, small nicks, and minor rubbed wear to finish commensurate with age. Upholstery in good condition with minimal scratches. The ottoman with three dime-sized areas of distress/scuffing to leather. 258 Crest rail with older 0.5” long chipped loss. Overall good condition with scattered scuffs, scratches, nicks, and minor indentations commensurate with age. Upholstery with a 4” long tear, creasing, and multiple near-tears. 259 Overall good condition with scattered scuffs, nicks, and minor abrasions commensurate with age. The base and top with applied shipping stickers. 260 Overall good condition with minor shelf and handling wear commensurate with age. 261 Overall good condition with minor shelf and handling wear commensurate with age. Faint scratches to bowl interior. Underside with mounting putty residue. 262 Overall good condition with minor shelf and handling wear commensurate with age. With mounting putty residue to underside. 263 Overall good condition with minor shelf and handling wear commensurate with age. With mounting putty residue to underside, obtrusive to applied label. 264 Overall good condition with minor shelf and handling wear commensurate with age. Scratches to bowl interior. 265 Overall good condition with minor shelf and handling wear commensurate with age. 266 Overall good condition with minor shelf and handling wear commensurate with age. Smudging and abrasions to applied label. 267 Each overall good condition with minor shelf and handling wear commensurate with age. The plate with mounting putty residue to underside and soiling and overall wear to applied label.

269 Each overall good condition with shelf and handling wear commensurate with age. Taller with mounting putty residue to underside. 270 Each overall good condition with minor shelf and handling wear commensurate with age. The larger with mounting putty residue to underside. The smaller with moisture staining to applied label. 271 Overall good condition with minor shelf and handling wear commensurate with age. Minor soiling to bottom of bowl interior. 272 Each overall good condition with minor shelf and handling wear commensurate with age. The smaller with staining to foot. 273 Visual: Overall generally good appearance. There is 0.5” H x 0.375” W area scuff, with presumed impasto loss, in the upper center of the painting, on the church, and another 0.25” H x 0.375” W scuff, in the upper left quadrant, at the bottom of the church, with a tiny attendant scuff just to the right. Blacklight: No evidence of restoration. Framed: 18” H x 15.5” W x 1” D 274 Overall good appearance. Not examined out of the frame. Framed under Plexiglas: 16.5” H x 13.75” W x 1” D 275 Good overall appearance. In raking light there are a series of very faint vertical pressure marks on the middle of the right side, from the edge to the number 5. The overall area is about 0.5” H x 3” W. As mentioned, the sheet is mounted to a mat board support, as issued. Framed under Plexiglas: 28” H x 23.25” W x 1.125” D 276 Overall good appearance. As mentioned, the sheet is mounted to a board mount, as issued. Not examined out of the frame. Framed under Plexiglas: 25” H x 20.375” W x 1.75” D

277 Overall good appearance. Minor paper cockling at the bottom and top edges, presumed to be part of the photographic process. The sheet is loose, secured to the back mat by four clear archival corners. Framed under Plexiglas: 20.5” H x 16” W x 1.25” D 278 Overall good appearance. Not examined out of the frame. Framed under Plexiglas: 17.25” H x 18.5” W x 1” D 279 Visual of painting: Overall good appearance. In raking light there are some scattered pinhead-sized, unobtrusive flecks of grime, mainly in the upper left quadrant and lower edge, and primarily visible in raking light Blacklight of painting: No evidence of restoration. Condition of slipcase contents: The book is in good condition overall, with some scattered finger marks and rust, especially on the spine. The fired clay ball appears to be in good condition. Painting: 29” H x 24” W x 1.5” D; Original slipcase: 11.25” H x 11.75” W x 3.5” D (housing the book: 9.375” H x 7.125” W x 1.375” D; and the clay ball: 2.625” approx. dia.) 280 Visual: Overall good appearance. Minor surface soiling overall. Blacklight: No evidence of restoration. Unframed 281 Overall good appearance. Two short and unobtrusive, parallel, diagonal creases across the tip of the upper left sheet corner, the larger of which is 1.75” long, and both of which are visible primarily in raking light. Old staple marks in regular intervals around the outer sheet edges, presumably as part of the artist’s working method. The sheet is framed floating, hinged or tipped from the verso of the sheet edges to an invisible backmat which is subsequently affixed to the silk-covered back board. Not examined out of the frame. Framed under Plexiglas: 58” H x 47” W x 1.5” D

Condition Reports

268 Each overall good condition with minor shelf and handling wear commensurate with age. The smaller bowl with sticker ghost to underside.

611

282 Overall good appearance. The sheet is framed floating, attached to the backmat from the sheet’s verso. Not examined out of the frame. Framed under Plexiglas: 62.875” H x 47.25” W x 1.5”D 283 Overall good appearance. The surface of the paper slightly uneven in the lower corners, possibly due to hinges verso. Slight creases scattered in places along the deckled edges. Artist pinholes in the upper corners. The sheet is framed floating, hinged to the back mat from the verso sheet corners. Not examined out of the frame. Framed under Plexiglas: 37.75” H x 30” W x 2” D 284 Visual: Overall good appearance. A very narrow, 1.5” H drip of unrelated white paint at the center near the upper edge, and two additional, even more unobtrusive, pinhead-sized flecks near the upper left corner. An approximately 1” H x 1.5” W slight surface stain at the center of the extreme right edge, primarily visible under blacklight. Blacklight: No evidence of restoration. Unframed 285 Visual: Overall good appearance. An unobtrusive rice-sized speck of grime in the lower edge of the topmost blue rectangle. Extremely faint surface scuffs scattered primarily in the lower half, showing only under blacklight. Blacklight: No evidence of restoration. Unframed

Condition Reports

286 Visual: Overall good appearance.

612

Blacklight: No evidence of restoration. Framed: 14” H x 14” W x 2” D

287 Visual: Slight varnish discoloration. Substantial craquelure throughout, including 3 bulls-eye cracks in the upper center. There are a few pinhead sized losses of paint in the upper center, at the center of the most prominent bulls-eye crack. There are 7 patches verso. Blacklight: There are a number of areas of touch-up: five in the upper center, 3”H x 2” W, 2” H x 3” W, 1” H x 0.5” W, 2” H x 1” W, and 0.5” H x 2” W, most corresponding to patches verso; three in the lower center, also corresponding to patches verso, 2” H x 1.5” W, 1.5” H x 1” W, and 1.5” H x 1.5” W; upper to mid left edge 2” H x 3” W with pea- and dimesized spots just below; lower left edge six spots, the largest is 1” x 1.5”; upper left corner, covering diagonal cracks, approximately 5” H x 3.5” W, overall diagonally; lower center edge 1” H x 1” W and 2” H x 2” W; lower center right 4” H x 2” W; with a small number of additional pea-sized spots of touch-up scattered throughout. Frame: 44.75” H x 54.5” W x 1.5” D

288 Each overall good condition with scattered scuffs and scratches, with minor wear to gilding with attendant oxidation. Each rear backing panel loose or unattached. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment. 289 Possibly with replaced armrests. With oxidation/ spots of rust to frame throughout and some verdigris to brass feet. With scuffs, scratches, dust accumulation, and minor soiling throughout commensurate with age. Each leather with some warping and minor soiling, the seat cushion lacking cushion material, the seatback with white spattered stains. 290 Each overall good appearance. Minor dust accumulation. Occasional cracks in the pigment over some of the sculpted elements. Frame of each: 12.5” H x 10.5” W x 2.25” D 291 Overall good condition with minor soiling, darkening/oxidation, and scattered scuffs and scratches commensurate with age.

293 With scattered scuffs and scratches, nicks, and abrasions at edges and corners commensurate with age. Soiling to exterior, concentrated to top, which has a few drink rings and other scattered stains. 294 Overall good condition with soiling, scattered scuffs and scratches, and a few nicks at edges of wood commensurate with age. With heavy pitting and losses to brass finish throughout, with attendant oxidation and areas of verdigris. The removeable shelf with contact wear to underside. Both the tray and undertier with several small stains. Soiling to drawer interiors. 295 Each with heavy soiling and surface grime to exterior and drawer interiors, with staining to undersides of shelves. Each top with drink rings. Each with scuffs, scratches, nicks, and abrasions throughout, concentrated at edges and corners.

301 Each in overall good condition with light tarnishing and minor scratches commensurate with age and use. Tests for sterling with XRF. 302 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. With some adhesive residue around the rim. 303 Some dinner forks with tarnishing to tines. Each overall good condition with scuffs, scratches, and small nicks at edges commensurate with age. 304 Overall good condition with shelf wear, scuffs, and light scratches commensurate with age. 305 With a few rice-sized chips to body. Heavy shelf wear with two abrasions to foot corners and one rice-sized chip. 306 Each overall good condition with shelf wear and scattered scuffs and scratches, most notably visible in the gilding.

296 Each wood frame with scratches, scuffs, nicks, and small indentations commensurate with age. The upholstery with dust accumulation, minor soiling, and slight fading.

307 A few cream soup bowls with an inherent slight lean. Each overall good condition with shelf wear and scattered scuffs and scratches, most notably visible in the gilding.

297 Overall good condition with scuffs, scratches, nicks, and soiling commensurate with age. The glass top with scratches throughout.

308 Each overall good condition with shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. Creamers with drip stains to gilding. Plates, cups, creamers, and sugars with more apparent scratches in the gilding.

298 The base with few small cracks to veneer at edges, with slight lifting. Overall good condition with scattered minor scuffs and scratches commensurate with age. 299 Each overall good condition with soiling and slight fading to upholstery and scuffs, scratches, and small nicks to legs. 300 Each in overall good condition with light tarnishing and minor scratches commensurate with age and use. Tests for sterling with XRF.

309 Each overall good condition with minor shelf wear and scattered minor scuffs and scratches commensurate with age. 310 Each overall good condition with scattered scuffs and scratches and minor soiling commensurate with age. Each shade with an area of rope trim detaching. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

Condition Reports

292 Overall good condition with scattered scuffs and scratches, shelf wear, and oxidation to brass elements commensurate with age. The underside with rubbed losses to goatskin.

613

311 Overall good condition with scattered scuffs and scratches and minor soiling commensurate with age. Lamp base with scattered smudges/stains in the vellum. The shade with a few small spots. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment. 312 Overall good condition with shelf and handling wear commensurate with age. The rim with a slight indentation. A few spots to the middle of body. 313 Overall good condition with scattered minor handling wear commensurate with age. 314 Overall good condition with scattered minor handling wear commensurate with age. 315 Overall good condition with scattered minor scuffs and scratches and handling wear to frame commensurate with age. One panel of frame loose, the bottom panel missing.

Condition Reports

323 Visual: Overall good appearance. Occasional specks of grime in the lower left quadrant. Scattered areas of wear and occasional flecks of very unobtrusive pigment losses to the pigment along each of the edges. An irregular shaped 0.25” H x 0.5” W area of blue sticky residue adhered to the surface in the lower edge, at right. An unobtrusive, 4” long, very faint, hairline scuff mark extending vertically from the upper edge, at right, into the work, primarily visible in raking light. Blacklight: No evidence of restoration. Unframed 324 Visual: Overall good appearance. Blacklight: No evidence of restoration.

316 Overall good condition with scattered minor scuffs and scratches and handling wear to frame commensurate with age.

Unframed

317 Pages 2 and 4 with a slight crinkle/crease at center of page. Otherwise overall good condition with minor shelf and handling wear commensurate with age. Personalized with gift inscription to title page from an unknown person.

Blacklight: No evidence of restoration.

318 The largest missing one of the pyrite nuggets. Each otherwise good condition with shelf and handling wear and mild dust accumulation commensurate with age.

614

322 Overall good condition with scattered scuffs and scratches and minor soiling commensurate with age. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

319 At least one fin bent. With soiling, weathering, scuffs and scratches, and oxidation to metal components commensurate with age. 320 Overall good condition with minor shelf and handling wear commensurate with age. 321 Overall good condition with shelf wear and scattered minor scuffs and scratches commensurate with age.

325 Visual: Overall good appearance.

Unframed 326 Overall good appearance. The full sheet. A few very soft handling creases in the blank of the upper left quadrant and the center of the lower edge, primarily visible in raking light. The sheet is hinged to a foam board backing in various places from the verso of the sheet edges. Framed under glass: 35.5” H x 27.75” W x 2” D 327 Overall good appearance. The full sheet and the colors good. Two very small, mostly unobtrusive “dents” in the upper portion of the extreme left edge. The sheet is loose, not matted. Unframed

328 Overall good appearance. The full sheet. Very minor cockling in small areas along the upper and lower sheet edges. The sheet is framed floating, tipped to the back mat in various places from the verso sheet edges.

336 Overall good appearance. With full margins. The sheet is hinged to a foam board backing in various places from the verso of the margin edges.

Framed under glass: 32.5” H x 24.75” W x 1.75” D 329 Overall good appearance. The full sheet. The sheet is loose, not matted.

337 Overall good appearance. The sheet is framed floating, hinged to an invisible foam board backing with pieces of white hinging tape in places from the verso of the sheet edges.

Unframed

Framed under glass: 31.25” H x 23.5” W x 1.5” D

330 Overall good appearance. Very minor surface grime surrounding the heart in the upper right corner, and two minor 0. 5” hairline surface scuffs in the blank above the signature.

338 Overall good condition with light wear and minor creasing commensurate with age and use. A few loose threads and scattered areas of minor single losses to sequins, primarily to straps and neck edge. A faint mark to back left edge near hem. Lining with a few scattered faint marks. Lining at back neckline with stitch evidence of original label.

Unframed 331 Visual: Overall good appearance Framed under glass: 35.5” H x 35.5” W x 1.75” D 332 Overall good condition with shelf and handling wear commensurate with age. 333 Visual: Overall good appearance. Blacklight: No evidence of restoration. Unframed 334 Overall good appearance. With margins. Not examined out of the frame. Framed under glass: 32.5” H x 27.25” W x 1.5” D 335 Overall good appearance. The full sheet. A soft handling mark along the right portion of the upper sheet edge. The sheet is loose, not matted. Unframed

339 Overall good condition. The box with shelf wear and scattered scuffs and scratches, including one 3.5” long, and scattered soiling. Box underside with a 6” x 2” area of loss to surface paper. 340 Each overall good appearance. With full margins. The upper and lower margin edges slightly curled, attendant with having been rolled for storage. Each sheet is loose, not matted. Each unframed 341 Overall good conditions with scattered scuffs, scratches, minor nicks, and general handling wear commensurate with age. 342 Overall good appearance. The full sheet with deckled edges. The sheet is framed floating, tipped to the back mat in places from the verso of the sheet edges. Framed under Plexiglas: 34.75” H x 26.75” W x 1.5” D 343 Each overall good condition with minor handling and shelf wear commensurate with age. One display box lid with detached clear vinyl window and one upper panel torn and detached.

Condition Reports

Blacklight: No evidence of restoration.

Framed under glass: 22.25” H x 16.75” W x 1.5” D

615

344 Overall good appearance. With full margins and deckled edges. The sheet is framed floating, tipped to the back mat from the center of the upper and lower margin edges, verso. Framed under Plexiglas: 35” H x 27.25” W x 2” D 345 Overall good appearance. The full sheet. The sheet is tipped to the back mat in various places from the verso of the sheet edges.

353 Overall good appearance. Full margins and the colors fresh. The sheet is loose, not matted. Unframed

346 Each overall good condition with minor handling and shelf wear commensurate with age. Each box with detached vinyl window.

354 Overall good appearance. Full margins and the colors fresh. The sheet is loose, not matted.

348 Overall good appearance. A soft, unobtrusive 2” horizontal crease along the right portion of the lower edge, primarily in the deckled edge. The sheet is framed floating, tipped to the back mat from the verso of the sheet edges. Framed under Plexiglas: 26.75” H x 34.5” W x 1.25” D 349 Overall generally good appearance. The sheet with full margins and the usual cockling for this edition which results from the particular combination of the printing medium and his use of a large, thin sheet of paper. Time staining showing in the outer portions of the margins. A pale foxmark near the upper right margin corner. The sheet is loose, not matted. Unframed

Condition Reports

Unframed

Framed under Plexiglas: 26.5” H x 26.75” W x 1.5” D

347 Each overall good condition with minor handling and shelf wear commensurate with age. Each box with detached vinyl window.

616

352 Overall good appearance. Full margins and the colors fresh. The slightest hint of a very small handling mark in the lower portion of the right margin, visible only in raking light. The sheet is loose, not matted.

350 Overall good appearance. Not examined out of the frame. Framed under Plexiglas: 31.75” H x 26.75” W x 0.75” D

Framed under Plexiglas: 18.5” H x 14.5” W x 0.75” D 355 Overall good appearance. Full margins and the colors fresh. Two nearly parallel, very minor, superficial, hairline surface scuffs in the upper right corner of the image, the longest approximately 4,” both of which are visible only in raking light. The sheet is loose, not matted. Unframed 356 Overall good condition with light scuffs commensurate with age. Possibly with minor scattered areas of loss to beadwork. 357 Overall good condition with light scuffs commensurate with age. With small scattered areas of loss to beadwork. 358 Overall good appearance. Full sheet with deckled edges and the colors fresh. There is a handling crease on the upper center edge that measures 0.625” H. Scattered, minor areas of ink bleeding through the paper, verso. The sheet is loose, not matted. Unframed

351 Overall good appearance. Not examined out of the frame.

359 Overall good appearance. Sheet appears hinged to the back mat at the top edge. Not examined out of the frame.

Framed under Plexiglas: 28.875” H x 28.875” W x

Frame: 35” H x 42” W x 1.5” D

360 Each of the screenprints and the other original contents are overall good appearance. With full margins. The sheets are loose, as issued. The original black paper-covered, gold embossed, portfolio-box overall good appearance with minor shelf wear and fingerprints.

368 Each overall good condition with minor shelf and handling wear commensurate with age.

Black portfolio-box:13” H x 13” W x 1.75” D

370 Overall good condition with scattered scuffs and scratches commensurate with age. The lower body with a 4” x 5” area of wear to the lacquer, with attendant discoloration to the finish. Headstock with a few scattered minor nicks at edges. Moran’s does not guarantee the working condition of musical instruments. Case with scuffs, scratches, nicks, and abrasions commensurate with age.

Black portfolio-box:13” H x 13” W x 1.75” D 362 Each of the screenprints and the other original contents are overall good appearance. With full margins. The sheets are loose, as issued. The original black paper-covered, gold embossed, portfolio-box overall good appearance with minor shelf wear and fingerprints. Black portfolio-box:13” H x 13” W x 1.75” D 363 The screenprints and other original contents overall good appearance. The tips of the extreme margins corners on a few of the screenprints are very slightly dog-eared. The original black paper- covered portfolio-box with usual shelf wear and fingerprints. Black portfolio-box: 24.5” H x 18.5” W x 1” D 364 With dime-to-rice-sized moisture staining to bottom front corners. Bumping to right side corner, with an adjacent crease to upper margin. Case with soiling and scattered scuffs and scratches commensurate with age. 365 Each overall good condition with minor shelf and handling wear commensurate with age. 366 Overall good condition with light scuffs commensurate with age. Possibly with minor scattered areas of loss to beadwork. 367 Overall good condition with light scuffs commensurate with age. Possibly with minor scattered areas of loss to beadwork.

371 Overall good condition with scattered scuffs and scratches commensurate with age. Moran’s does not guarantee the working condition of musical instruments. Case with scuffs, scratches, nicks, and abrasions commensurate with age. 372 Visual: Overall good appearance. Very minor wear at the extreme corners of the canvas overlap, not visible from the recto. Blacklight: No evidence of restoration Unframed 373 Overall generally good appearance. There is old masking tape that is dried and peeling verso, and blue painter’s tape, also dried and peeling, and also collecting dirt. Appears to have been used. The screen is attached to the stretcher bars, verso, using numerous staples, as issued. Unframed (aside from the original framework of the piece itself). 374 Overall good condition with areas of pitting to the gold plating around the edges, with attendant spots of oxidation. Shelf wear to the stand. 375 Overall good appearance. With margins. A pinheadsized very soft pressure mark in the blank at upper right, visible primarily in raking light. Not examined out of the frame. Framed under glass: 14.75” H x 16.375” W x 0.5” D

Condition Reports

361 Each of the screenprints and the other original contents are overall good appearance. With full margins. The sheets are loose, as issued. The original black paper-covered, gold embossed, portfolio-box overall good appearance with minor shelf wear and fingerprints.

369 Each overall good condition with minor shelf and handling wear commensurate with age.

617

376 Visual: Overall generally good appearance. An approximately quarter-sized pressure mark lower center. Blacklight: No evidence of restoration. Unframed 377 Overall good condition with mild shelf and handling wear commensurate with age. 378 Each overall good condition with minor shelf and handling wear. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment. 379 Overall good condition with even pile-wear, soiling, and typical signs of wear commensurate with age and use. Issues include, but not limited to: uneven soiling, concentrated to one half, a few areas of localized staining, and rubbed wear to selvage edges with mild fraying. 380 Each overall good condition with scattered scuffs, scratches, nicks, and small indentations commensurate with age. Upholstery in good condition with a dime-sized faint stain to seat and a 3” x 1.5” stain to ottoman. 381 Each overall good condition with scattered scuffs and scratches commensurate with age. The underside with heavy scratching, one with label remnants.

Condition Reports

382 Each overall good condition with scattered scuffs and small areas of surface grime commensurate with age.

618

383 With soiling and staining to seat, the underside with some bubbling to the skin of the foam. With scattered scuffs, scratches, and handling wear commensurate with age. 384 Each overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. 385 Overall good condition with minimal shelf and handling wear commensurate with age. The box with shelf wear and minor soiling.

386 Each overall good condition, the box with minor handling and shelf wear commensurate with age. 387 Each overall good condition, the box with minor handling and shelf wear commensurate with age. 388 Plate overall good condition with very minimal handling wear. The box with indentations, soiling, shelf wear, and sticker remnants. 389 Older chipped losses surrounding drainage hole, about a quarter sized. With shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. Heavy soiling to underside, soiling to interior and scattered smudges and scuffs to exterior. 390 The larger with a 6” long vertical crack issuing from the base, which has small older losses. Each with heavy soiling to interior, base exterior, and rim. Each with shelf wear, weathering, scattered scuffs and scratches, and inherent firing flaws commensurate with age. 391 Not inspected out of case. Case with scattered scuffs and scratches and handling wear commensurate with age. 392 Overall good appearance. With margins. A very soft, unobtrusive 3” diagonal crease on the wall above the figure’s head, primarily visible in raking light. Slight cockling and a few minor handling marks, all primarily along the margins. The extreme tips of each corner very slightly dog-eared and with minor surface skinning. A few pale scattered foxmarks showing only on the verso. Surface skinning in places on the copyright ink stamp on the verso. The sheet is loose, secured to the back mat with four clear archival corners. Unframed; Matting: 20” H x 16” W 393 Overall good appearance. With margins. Handling creases scattered primarily along the margin and outer image edges, the largest measuring 1.5” W along the center of the lower margin. Slight cockling along the lower margin edge. The extreme tips of each corner very slightly dog-eared. The sheet is loose, not matted. Unframed

Framed under Plexiglas: 26.25” H x 23.75” W x 0.25” D 395 Overall good appearance. The full sheet, good colors. The corners are slightly dog eared. Time staining showing primarily along the verso of the sheet edges. The sheet is loose, not matted. Unframed 396 Overall good appearance. The full sheet, good colors. Time staining showing primarily along the verso of the sheet edges. The sheet is loose, not matted.

402 Each overall good appearance. Two very minor ricesized abrasions along the upper portion of the right sheet edge of “Wood Nymph.” Time and lightstaining and uneven toning on the recto and verso of the mount board. As mentioned, each sheet is affixed to a matboard mount, as issued Unframed 403 Visual: Overall good appearance. Scattered craquelure. Stretcher bar creases along each edge. Blacklight: A few minor pea-sized (or smaller) touchups scattered occasionally in the right half as well as along the center of the left edge. Frame: 39” H x 27” W x 1.75” D

Blacklight: No evidence of restoration

404 Overall good appearance. Occasional craquelure in some of the areas with thicker paint application. An unobtrusive pinpoint-sized loss attendant with the craquelure in the bright red pigment of the upper right corner. A few small bits of white paper in places on the verso, likely related to former matting. The sheet is hinged to the back mat from the verso of the upper sheet corners.

Unframed

398 Each overall good appearance. Not examined out of the frame.

405 Overall generally good appearance. Light-staining and some areas of uneven toning. A few pale foxmarks in the blank of the left half. Artist pinholes in the upper corners. Not examined out of the frame.

Unframed 397 Visual: Overall good appearance.

Each framed under glass: 11.5” H x 14.5” W x 0.75” D 399 Overall good appearance. Not examined out of the frame. Framed under glass: 14.5” H x 18.5” W x 0.75” D 400 Visual: Overall good appearance. Slight varnish discoloration. A faint 1.25” vertical scuff at the center of the lower edge. The canvasboard is very slightly convex. Blacklight: No evidence of restoration. Frame: 21.75” H x 25.75” W x 2.5” D 401 Overall good appearance. Very slight mat staining showing along the left platemark. Not examined out of the frame. Framed under glass: 22.5” H x 33” W x 2” D

Framed under glass: 28.25” H x 20.25” W x 0.75” D 406 With one loose element at left side. Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Framed: 30.375” H x 30.5” W x 2.75” D 407 Each overall good condition with minor shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The teapot with fleabite chips to rim of lid. 408 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

Condition Reports

394 Overall good appearance. With margins. The sheet is secured to the back mat with four plastic archival corners.

619

409 The Delft with a 1.25” x 1.25” repaired break at the rim/neck. Each otherwise overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 410 Overall good condition with dust accumulation, minor scuffs and scratches, and mild pitting to the chrome finish commensurate with age. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment. 411 Includes 17 lightbulbs manufactured by the same maker. Overall good condition with minor shelf and handling wear commensurate with age. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment. 412 With a 1.5” long chipped loss along an edge and other scattered chipped losses along edges. Soiling and staining throughout. Scattered scuffs, scratches, nicks, and indentations. 413 Inherent losses to enamel. With oxidation and dust accumulation commensurate with age. Chipped losses to base at corners. 414 Overall good condition with scattered scuffs, scratches, minor soiling, and faint stains commensurate with age.

Condition Reports

415 The wiring needs repair from a qualified electrician before it will illuminate. Moran’s does not guarantee the working condition of electronic equipment. With scuffs, scratches, small nicks, and dust accumulation commensurate with age. The underside panel of base is loose.

620

416 Overall good condition with some wobble to the legs, possibly inherent, minor soiling, dust accumulation, and handling wear commensurate with age. 417 Overall good condition with some wobble to the legs, possibly inherent, minor soiling, dust accumulation, and handling wear commensurate with age. 418 Each overall good condition with minor soiling and dust accumulation commensurate with age.

419 Each overall good condition with minor soiling and dust accumulation commensurate with age. 420 Each overall good condition with minor soiling and dust accumulation commensurate with age. 421 Each overall good condition with minimal handling and shelf wear commensurate with age. The larger with one disconnected connection between the front panel and the back. 422 Each overall good condition with shelf wear and scattered scuffs and scratches commensurate with age. 423 Each overall good condition with shelf wear and scattered scuffs and scratches commensurate with age. The largest with a few larger scuffs, including one measuring 3.75” long. 424 Each overall good condition with shelf wear and scattered scuffs and scratches commensurate with age. 425 Each overall good condition with shelf wear and scattered scuffs and scratches commensurate with age. 426 With oxidation/verdigris throughout, areas of degradation, soiling, and staining. The base with abrasions, scuffs, and scratches. 427 Each with indentations, scuffs and scratches, soiling, tanning, and oxidation to metal components commensurate with age. A few with shallow tears in the paper. The metal globes with losses to enameling. 428 Overall good condition with shelf and handling wear, dust accumulation, and older splits in the wood commensurate with age. 429 Each with oxidation, small older losses, nicks, indentations, bending, staining, soiling, and scuffs and scratches commensurate with age.

430 With patination, soiling, older scuffs, scratches, nicks, and abrasions commensurate with age. Minimal shelf and handling wear. Fraying and possible losses to fibers. 431 Each with older losses to polychrome, soiling, small nicks and abrasions, and scattered scuffs and scratches commensurate with age.

442 Minor scuff marks to surface, overall good condition with tears in the shrink wrap at underside where the screw holes are, with attendant minor scratching. 443 Shallow surface cracks consistent with age and material, overall good condition with a few scattered small tears in the shrink wrap.

432 Each with losses, soiling, and degradation commensurate with age. 433 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, soiling, and weathering commensurate with age and outdoor use. 434 Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, soiling, and weathering commensurate with age and outdoor use. 435 Each with older losses, shrinkage cracks, soiling, dust accumulation, and general wear commensurate with age. 436 Each with older losses, shrinkage cracks, soiling, dust accumulation, and general wear commensurate with age.

438 Each overall good condition with older scuffs, scratches, nicks, abrasions, and minor shelf and handling wear and patination commensurate with age. 439 Overall good condition with some inherent cracking in the paint of underside at ends. 440 Overall good condition with small tears in the shrink wrap with attendant small scratches. 441 Shallow surface cracks consistent with age and material, overall good condition with large tears in the shrink wrap at underside, with attendant minor shelf wear.

Condition Reports

437 Each with older losses, shrinkage cracks, soiling, dust accumulation, and general wear commensurate with age.

621

John Moran Auctioneers, Inc SPECIALISTS

Co-Head of Sale, Specialist, Post-War & Contemporary Design Matthew Grayson Co-Head of Sale, Director, Fine Art Katherine Halligan, AAA President, Auctioneer Jeffrey J. Moran Vice President, Specialist Maranda Moran Associate Specialist, Fine Art Bobby Cullen Associate Specialist, Fine Art Madison Ari Senior Cataloguer, Fine Art Anne Spink Cataloguer, Fine Art Lori Kassabian Department Administrator, Fine Art Jacob Baer Director, Furniture and Decorative Arts Jen Kurtz Senior Specialist, Furniture & Decorative Art Angela Past Department Administrator, Furniture & Decorative Arts /Jewelry Jessica Crosbie Cataloguer, Fine Art Christine Weir Cataloguer, Furniture & Decorative Arts Grant Stevens Cataloguer, Silver, Western and American Indian Sally Andrew Director, Jewelry & Watches Senior Specialist, Jewelry & Watches

Tom Burstein Kelly Sitek

TRUSTS & ESTATES

Senior Vice President, Director Trusts & Estates Morgana Blackwelder, ISA AM Director, Appraisals Mariam Whitten, ISA AM Associate Appraiser Shannon Dailey Department Administrator, Trusts and Estates Julia Kelley

CLIENT SERVICES

Office/HR Manager Mario Esquivel Client Services Ella Fountain Finance Administrator Jamie Holthauser Accounts Receivable / Customer Service Tiffany Hansen

OPERATIONS

Vice President, Business Director, Auctioneer Stephen Swan Controller Joseph Scott Consignment Coordinator Jean Rapagna Warehouse Supervisor, Senior Art Handler Richard Corral Transport Supervisor, Senior Art Handler Joe Miranda Art Handler Romero Corral

MARKETING

Director, Advertising & Marketing Manager, PR/Social Media Graphic Designer

PHOTOGRAPHY

Senior Photographer, Head of Photography Photographer Photographer Photographer

FOUNDERS

Nathan Martinez Brenda Smith Brian Olivas Keith Berson Madison Torres Wyatt Beserra Chloe Daniels

Founder John H. Moran (1942-2017) Co-Founder Madeleine Moran

This catalogue is meant merely as a guide. The Auctioneers do not warrant the accuracy, genuineness, authenticity, description, weight, count or measure of any of the lots specified herein.

BUYER’S PREMIUMS: BUYER’S PREMIUM is calculated at 27% on the first $1,000,000 of the hammer price, plus 21% on any amount between $1,000,001 - $5,000,000, and 15% on any amount above $5,000,000 when paying by cash, check or wire transfer. Credit card payments will be subject to an additional 3.5% acceptance fee. This fee is not more than the cost of accepting these cards. Buyers outside of the United States must submit payment via wire transfer. Credit cards are not an accepted form of payment for buyers outside of the United States.

BIDDING INCREMENTS:

$100 - $475 @ $25 increments $500 - $950 @ $50 increments $1,000 - $1,900 @ $100 increments $2,000 - $4,750 @ $250 increments $5,000 - $9,500 @ $500 increments $10,000 - $19,000 @ $1,000 increments $20,000 - $47,500 @ $2,500 increments $50,000 - $95,000 @ $5,000 increments $100,000 - $190,000 @ $10,000 increments $200,000 - $480,000 @ $20,000 increments $500,000 & above @ $50,000 increments, or at Auctioneer's discretion.

View Illustrated Catalogue Online @ www.johnmoran.com

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Conditions of Sale These Terms and Conditions of Sale (“Terms“) set out the terms by which the sale or purchase of property at auction through John Moran Auctioneers, Inc. (“Moran”) will be governed. These Terms constitute a legal and binding agreement between You and Moran. AUCTION HOUSE AS AGENT Except as otherwise expressly stated in writing, Moran acts as an agent for the seller. Thus, any contract for the sale of property through Moran is made between the respective seller and buyer. BEFORE THE AUCTION (a) Public Preview. All property is available for inspection by public or private preview according to the auction information posted online and in the catalogue. In many cases, particular lots can be examined in advance by private appointment by contacting a customer service representative at info@johnmoran. com or by dialing 626-793-1833. Prospective buyers are strongly encouraged to personally examine any property in which they are interested. (b) Buyer’s Responsibility. Buyers are responsible for determining to their own satisfaction the true nature and condition of any lot prior to bidding. Though buyers are not legally required to inspect lots prior to purchase, failure to do so may constitute a waiver of complaint that an item was not delivered in a condition equal to the existent condition at the auction. (c) Property Sold “As Is”: Neither Moran nor the seller provides any guarantee in relation to the nature of the property, or to any errors or omissions in the catalogue or supplemental material, apart from the Limited Warranty stated in Section 5 below. ALL PROPERTY IS SOLD “AS IS.” Condition reports are offered as a courtesy and are typically published in Moran’s catalogue, or online, or can be made available upon request. The absence of a condition report does not imply that an item is free from defects or restoration, nor does reference to particular defects imply the absence of others. AT THE AUCTION (a) Admission. Moran’s auction is open to the public, although Moran reserves the right to, in its sole discretion, refuse admission or participation to anyone at any time. The auction may be recorded (visually, aurally, or otherwise) and all participants or attendees at the auction consent to such recording. (b) Buyer Registration. Prospective buyers must register with Moran before bidding. Moran may, in its sole discretion, require identification, financial references, or a deposit in advance of buyer eligibility. Registered bidders accept personal liability to pay the purchase price, including the Buyer’s Premium, as described in Section 4(a) below, plus all applicable charges, unless Moran agrees in advance that the bidder is acting as agent on behalf of an identified third party that Moran, in its sole discretion, deems acceptable. In such case, Moran will look to the third party for payment. Successful bidders may be required to further verify their identity before property is released. (c) Bidding Guidelines. Bidding, whether in person or by agent, absentee bid, telephone, or internet, constitutes a bidder’s acceptance of these Terms. The highest bidder acknowledged by the auctioneer shall be the buyer. The auctioneer retains the absolute right to reject any bid; withdraw, pass, or divide any lots; combine multiple lots; advance the bidding at their absolute discretion; and—in the case of error or dispute, whether during or after the sale—determine the successful bidder; continue the bidding; cancel the sale; or re-offer and sell the lot in question. Under no circumstances are sellers, or agents acting on their behalf, permitted to bid on their own property. In the event of any dispute after the auction, Moran’s sale record shall be conclusive as to the successful bidder and the price of the successful bid. (d) Absentee, Telephone, and Internet Bidding. Moran offers absentee, telephone, and internet bidding as a convenience to clients and does not accept liability for errors or failures to execute bids. Absentee and telephone bids must be recognized by Moran prior to auction day. When identical absentee bids are submitted that become the highest bids at the auction, the bid first received by Moran shall be accepted as the winning bid. Telephone bidders are encouraged to leave minimum bids in case of technical failure.

(e) Reserves. Unless Moran expressly indicates otherwise, lots may be offered subject to a reserve, which is the confidential minimum price below which the lot will not be sold. The reserve for any lot shall not exceed its published estimate. Moran shall act to protect the reserve by bidding through the auctioneer, who may open bidding on any lot below the reserve by placing a bid on the seller’s behalf. The auctioneer may continue to bid on behalf of the seller up to the reserve amount, either by placing consecutive bids or by placing bids in response to other bidders. Lots without reserves are typically opened for bidding at 50% of their low estimate. In the absence of a bid at that level, the auctioneer may proceed backward at their discretion or deem the lot unsold if a bid is not recognized. AFTER THE AUCTION (a) Payment and Title Transfer. The buyer agrees to pay the sum of the hammer price plus Buyer’s Premium, plus any applicable sales tax. The Buyer’s Premium will be calculated as follows: 27% on the first $1,000,000 of the hammer price, plus 21% on any amount between $1,000,001 and $5,000,000, and 15% on any amount above $5,000,000 when paying by cash, check, or wire transfer. Successful bidders using Live Auctioneers or Invaluable platforms will be charged a Buyer’s Premium calculated as follows: 32% on the first $1,000,000 of the hammer price, plus 26% on any amount between $1,00,001 and $5,000,000, and 20% on any amount above $5,000,000 when paying by cash, check, or wire transfer. Credit card payments made directly to Moran will be subject to an additional 3% acceptance fee. This fee is not more than the cost of accepting these cards. The name and address associated with the credit card must match the name and address of the successful bidder. Credit Cards are not an accepted form of payment for buyers outside the United States. Buyers are strongly encouraged to provide full payment at the auction. Payment must be received by Moran within five business days immediately following the auction. The buyer does not acquire title to and may not take possession of the lot until all amounts (including the hammer price, premium, and applicable taxes) due to Moran have been paid in full. Unless alternate payment arrangements are made immediately following the auction, successful Live Auctioneers bidders will be automatically charged via Live Auctioneers’ LivePayments 24 hours after the auction. Payments made through Live Auctioneers LivePayments are subject to an additional processing fee and any applicable state sales tax. (b) Collection: Buyers are strongly encouraged to collect purchased items from the sale site at the time of the auction. Packing material and labor are provided free of charge at the sale site during the auction. Packing and handling of purchased lots is undertaken by Moran solely as a convenience to customers. If a buyer opts to use this courtesy packing and handling service, Moran is not liable for damage to property, regardless of cause. (c) Storage and Abandonment. Following the auction, uncollected lots shall be relocated to and stored in Moran’s warehouse. Moran shall retain possession of all purchases until full payment has been received from the buyer. Lots remaining uncollected after the fifth business day following the sale, regardless of payment status, are subject to a per-lot daily storage charge of $10.00. In addition to other remedies available by law, Moran reserves the right to impose upon delinquent buyers a separate 1% monthly charge (of the purchase price, or the maximum permitted by law) commencing on the sixth business day after the sale date. If a buyer fails to retrieve a purchased lot within thirty (30) days after the date of sale (the “Retrieval Period”), Moran may, without further notice, (a) continue to store the lot in Moran’s warehouse, or at the warehouse of a third-party, subject to the storage charge described above; (b) deliver the lot to the buyer at the buyer’s expense; or (c) sell the lot at auction without reserve at a place and time determined by Moran in its sole discretion.

Conditions of Sale Cont’d (d) Consequences of Late Pick-Up/Abandoned Property. Notwithstanding the foregoing, Moran has no duty to store any lot indefinitely. Any purchased lot that remains in Moran’s possession sixty (60) days after the Retrieval Period (collectively, ninety (90) days) will be deemed abandoned (“Abandoned Property”) and title to it will pass to Moran. Moran may, in its sole discretion, discard or sell any Abandoned Property and may keep any proceeds from any such sale. Moran may not be held liable for any claims related to Abandoned Property. Moran is not responsible for damage or loss that occurs to Abandoned Property and Moran is not responsible for insuring Abandoned Property after the Retrieval Period. (e) Shipping. As a courtesy to buyers, Moran provides a list of preferred shippers who are in the business of transporting antiques and works of art. Buyers are responsible for arranging their own shipping estimates and deliveries. Moran, in its sole discretion and as a courtesy to buyers, may arrange to have purchased lots packed, insured, and forwarded by a third-party shipper at the request, expense, and risk of the buyer. In circumstances where Moran arranges for such third-party services, Moran may apply an administration charge of 15% of that service fee. Moran assumes no responsibility for acts or omissions in such packing or shipping by other packers or carriers, even if recommended by Moran. Moran also assumes no responsibility for any damage to picture frames or to the glass therein. (f) All Sales Final. Notwithstanding other terms mentioned herein, refunds may be given in Moran’s sole discretion. Refunds requested on the grounds of authenticity must be made within 180 days of the auction and accompanied by a supporting written statement from a recognized authority (defined as a person who has authored, edited, or substantially contributed to a monograph on the artist; a person who has curated, organized, or substantially contributed to a solo exhibition on the artist; or a person who has represented the artist’s estate or someone who represented or worked closely with the artist while they were alive and, in any of the foregoing instances, physically handled works of the period, medium, and subject matter in question during the course of their duties) stating that the object sold is incorrect or not the work of the artist. Dealers, appraisers, and representatives of other auction firms do not qualify as authenticators of individual artists unless they have had such specific involvement with that artist’s work, as specified above, in addition to their daily duties. Refunded lots must be returned to Moran in the same condition as when sold. Moran does not grant extensions to refund considerations based upon authenticity due to shipping delays. There are no exceptions to this refund policy. LIABILITY AND LIMITED WARRANTY (a) Liability. The buyer expressly agrees that (i) neither Moran nor the seller shall be liable, in whole or in part, for any special, indirect, or consequential damages, including, without limitation, loss of profits, and (ii) the buyer’s damages, if any, are limited exclusively to the original purchase price paid for the lot. (b) Limited Warranty. ALL PROPERTY IS SOLD AS IS. Neither the seller nor Moran or its associates make any representation, express or implied, warranty (including merchantability and fitness), or guarantee in condition, age, size, provenance, medium, signature, inscription, exhibition history, importance, rarity, country of origin, genuineness, historical relevance, monetary or other value, framing or lack thereof, mounting, conservation, coloring, palette, inscription, edition, style, label, or other descriptor. No statement in the catalogue, brochures, website, bill of sale, invoice, any supplementary material, or statements by any Moran employee shall be deemed a warranty, representation or assumption of liability. (c) Descriptions. No warranty, whether express or implied, is made with respect to any description contained in this auction or any second opinion. Any description of the items or second opinion is for the courtesy of identifying the items for those bidders who do not have the opportunity to view the lots in person, and no description of items has been made part of the basis of the transaction or has created any express warranty that the goods would conform to any description made by the auctioneer. Color variations can be expected in any electronic or printed imaging and are not grounds for the return of any lot. (d) Estimates. All estimates provided are carefully considered opinions of Moran’s specialists and are merely suggested guidelines for interested buyers. Buyers must be aware that all property sold is subject to fluctuating values depending on the subjective interests of collectors and a wide variety of other uncontrollable factors. The lots auctioned may sell at prices above, within, or below estimate. (e) Notices, Demands, and Refunds. Any demands for refunds, problems with the lot(s) sold or notices of any kind concerning the auction shall be made (1) in writing and addressed to John Moran Auctioneers, Inc, 145 East Walnut Avenue, Monrovia, CA 91016 or (2) via email at info@johnmoran.com.

(f) Notices, Demands and Refunds: Any demands for refunds, problems with the lot(s) sold or notices of any kind concerning the auction shall be in writing and addressed to John Moran Auctioneers, Inc, 145 East Walnut Avenue, Monrovia, CA 91016. ADDITIONAL MATTERS (a) Copyright. The copyright on all images, illustrations, and written material produced by or for Moran for its auction is and will remain at all times the property of Moran. Moran and the seller make no representation or warranty that the buyer will acquire any copyright or reproduction rights to a purchased lot. (b) Buyer’s Breach of Conditions. If a buyer fails to comply with any of these Terms, Moran may, in addition to asserting all remedies available by law, including the right to hold that buyer liable for the purchase price, (i) cancel the sale, retaining as liquidated damages any payment made by the buyer; (ii) resell the property without reserve at public auction or privately upon notice to the buyer; or (iii) take such other action as Moran deems necessary or appropriate. If Moran resells the property, the original defaulting buyer shall be liable for the payment of any deficiency between the original sale price and any subsequent mitigation sale, including warehousing, the expenses of both sales, reasonable attorney’s fees, commissions, incidental damages, and all other charges due hereunder. In the event that such buyer pays a portion of the purchase price for any property, Moran’s shall apply the payment received to such property that Moran, in its sole discretion, deems appropriate. Moran shall have the benefit of all rights of a secured party under the Uniform Commercial Code as adopted in the State of California. (c) Governing Law. The rights and obligations of the parties with respect to these Terms and the conduct of the auction shall be governed and interpreted by the laws of the State of California. (d) Arbitration. Any dispute, claim, or controversy arising out of or relating to these Terms or the breach, termination, enforcement, interpretation, or validity thereof, including the determination of the scope or applicability of this agreement to arbitrate, shall be determined by private arbitration before an arbitrator. The arbitration shall be administered by JAMS pursuant to its Comprehensive Arbitration Rules and Procedures. Judgment on the award may be entered in any court having jurisdiction. This clause does not preclude the parties from seeking provisional remedies in aid of arbitration from a court of appropriate jurisdiction. The parties shall maintain the confidential nature of the arbitration proceeding and the award, including the hearing, except as may be necessary to prepare for or conduct the arbitration hearing on the merits, or except as may be necessary in connection with a court application for a preliminary remedy, a judicial challenge to an award or its enforcement, or unless otherwise required by law or judicial decision. In any arbitration arising out of or related to these Terms, the arbitrator shall award to the prevailing party, if any, the costs and attorneys’ fees reasonably incurred by the prevailing party in connection with the arbitration. If the arbitrator determines a Party to be the prevailing party under circumstances where the prevailing party won on some but not all of the claims and counterclaims, the arbitrator may award the prevailing party an appropriate percentage of the costs and attorneys’ fees reasonably incurred by the prevailing party in connection with the arbitration. (e) Severability. Should any of these conditions be deemed unenforceable, invalid, or illegal in any court having jurisdiction, that part shall be severed from these Terms and shall have no effect on the enforceability of the remaining provisions contained herein, which shall remain valid to the fullest extent permitted by law.

SINCE 1969

AUCTIONEERS & APPRAISERS

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Art + Design — March 24, 2026 | John Moran Auctioneers